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THE J. PAUL GETTY MUSEUM LIBRARY 


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oe vide 


’ ON FREE PUBLIC VIEW 
FROM 9 A. M. UNTIL 6 P. M. 


AT THE AMERICAN ART GALLERIES 


BLOCK OF MADISON AVENUE, 56th TO 57th STREET, NEW YORK 
ENTRANCE, 30 EAST 57th STREET 


BEGINNING SATURDAY, MARCH 3lst, 1923 
AND CONTINUING UNTIL THE DAY OF THE SALE 


THE NOTABLE , COLLECTION 
OF THE ART OF 


THE ITALIAN RENAISSANCE 


AND 


FRENCH 18"! CENTURY, 


BELONGING TO THE ESTATE OF THE LATE 


WILLIAM SALOMON 


OF NEW YORK CITY 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


ON THE AFTERNOONS OF 
WEDNESDAY, THURSDAY, FRIDAY AND SATURDAY 
APRIL 4th, 5th, 6th AND 7th, AT 2.30 O’?CLOCK 


AND EVENING OF THURSDAY, APRIL 5th, AT 8.30 O’CLOCK 


IN THE ASSEMBLY HALL OF THE 
AMERICAN ART GALLERIES 


THE BLOCK OF MADISON AVENUE, 56th TO 57th STREET 
ENTRANCE, No. 30 EAST 57th STREET 


TO THE SALES PROSPECTIVE BUYERS WILL BE ADMITTED EXCLUSIVELY BY CARD, THE 
NUMBER OF WHICH WILL BE LIMITED TO THE CAPACITY OF THE HALL, AND 
CAN BE HAD ONLY UPON WRITTEN APPLICATION OF THE MANAGERS 


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Subscriber’s Copy No. 47 2. 


EDITION LIMITED TO SIX HUNDRED COPIES 


THE J. PAUL GETTY MUSEUM LIBRARY 


GRAND STAIRWAY FROM THE ENTRANCE HALL OF THE FIFTH 
AVENUE RESIDENCE OF THE LATE WILLIAM SALOMON 


DE LUXE ILLUSTRATED CATALOGUE 
OF THE ART OF THE 


FRENCH EIGHTEENTH CENTURY 


THE ITALIAN RENAISSANCE 


WILLIAM SALOMON 


THE MAJORITY OF THE PAINTINGS PURCHASED FROM RENE GIMPEL 
AND THE FIRM OF GIMPEL & WILDENSTEIN 


AND MANY OF THE RARE AND ANTIQUE BRONZES PURCHASED UNDER 
THE AUSPICES OF THE EMINENT ANTIQUARIAN 
JACQUES SELIGMANN OF PARIS 
AND A DESCRIPTION OF MR. SALOMON’S FORMER RESIDENCE 


1020 FIFTH AVENUE (N. E. CORNER OF 83rd STREET) 
NEW YORK CITY 


THE ARTISTIC CONTENTS OF THE MANSION 
TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


AND THE MANSION 


UPON THE CONDITIONS MENTIONED 


BY DIRECTION OF THE EXECUTORS OF THE WILL OF 
WILLIAM SALOMON, DECEASED 


ON THE DATES HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY AND HIS ASSOCIATES, OF 


wow THE AMERICAN ART ASSOCIATION, Manacers 
BLOCK OF MADISON AVENUE, 56th TO 57th STREET 
ENTRANCE, No. 30 EAST 57th STREET 
NEW YORK 


THE AMERICAN ART ASSOCIATION 

DESIGNS ITS CATALOGUES AND DIRECTS 

ALL DETAILS OF ILLUSTRATION 
TEXT AND TYPOGRAPHY 


PREFATORY NOTE 


The American Art Association, although it has moved its American Art Gal- 
leries to the art center of New York and therefore of the New World, still carries 
the great traditions which it gained from the Mary J. Morgan, A. T. Stewart, 
George I. Seney, Henry G. Marquand, Joseph Jefferson, Brayton Ives, James 
A. Garland, W. H. Stewart, Mrs. Susan D. Warren, Heber R. Bishop, Henry 
Graves, F. O. Mathiessen, Thomas EK. Waggaman, Charles T. Yerkes, Robert 
Hoe, M. D. C. Borden, Catholina Lambert, George A. Hearn and countless other 
notable sales held at the old Galleries on Madison Square South. 

The conspicuous success that characterized those dispersals of artistic prop- 
erties has left its mark on the history of art collecting in this country, and fostered 
the formation of private collections and nascent Art Museums. Such activities did, 
no doubt, in time in some degree determine the late Mr. William Salomon to enter 
the field as a collector himself. Mr. Salomon (1852-1919), having founded an In- 
ternational Banking House and interested himself in the problems of transporta- 
tion and world-wide finance, would naturally search far afield when selecting paint- 
ings and works of art that appealed to his taste and fine judgment. Being accus- 
tomed to accept the services of others, he sought and received the advice of Henry 
Duveen and Sir Joseph Duveen; of Jacques Seligmann, of Réne Gimpel and others 
of eminence; and his collections reflect their unusual ability to procure the rare and 
authentic. He may be said to have built de fundamento ad summitatem, for he 
built his residence at 1020 Fifth Avenue, that it should prove a worthy casket to 
contain his treasures, and to hold its own among the best of its serious rivals and 
enriched neighbors. That Mr. Salomon, who was the founder of the Educational 
Alliance, acquitted himself of his self-appointed task with conspicuous success is 
abundantly proved by the enumeration of his works of art in this Catalogue. Yet the 
array before us does not in any way exhaust the full measure of his attainments as a 
collector. In point of fact, he laid his ground truly by purchasing at the outset in 
Europe and incorporating in his home, Marbles, Staircases and Structural Equip- 
ments which illustrate the discriminating judgment of a connoisseur. 


(Signed) Mavricre W. BrockweE.t. 
New York, March, 1923. 


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THE PALATIAL MANSION 
MR. BARR FERREE 


Eprror or “American Homes aAnp GARDENS” 


privately previous to April 4th, 1923, will be offered at 


MERICAN ART GALLERIES 


" fe ; On Saturpay, APRIL 7TH, 
on the ‘conclusion of the sale of the 


E AND COSTLY CONTENTS 


s regarding inspection of the premises, see 


NOTICE 


REGARDING INSPECTION OF THE MANSION 


The Salomon Mansion at 1020 Fifth Avenue, the full description 
of which here follows, may be inspected by those contemplating its 
purchase on the presentation at the house on Monday or Tuesday, 
March 19th or 20th, 1923, from 9 A. M. until 4 P. M. of a card of 
admission which can be obtained only on written application to THE 
American Art Association, Managers. The Mansion, if not dis- 
posed of privately previous thereto, will be offered at public sale at 
Tur American Art GALLERIES on Saturday afternoon, April 7th, 
1923, at the conclusion of the sale of the rare and costly contents. 


TERMS AND CONDITIONS OF SALE 


Sixty per cent. of the purchase money may remain on bond and 
mortgage for a term of years at five per cent. (5%). 

At the time of sale the purchaser is to sign a memorandum of his 
purchase and pay a deposit of twenty-five thousand dollars ($25,000), 
either in cash or by certified check, to the order of the American Art 
Association, Managers. 

For a period not exceeding thirty (30) days after the sale, the ven- 
dors shall have the sole right to the possession, occupancy and use of 
the premises. At the expiration of this period the deed will be 
delivered and possession of the premises given to the purchaser, who 
at the same time will pay the balance (forty per cent.) of the pur- 
chase money, less the amount of the deposit of twenty-five thousand 
dollars. 


Wt i 


THE MANSION 
No. 1020 FIFTH AVENUE 


Nortueast Corner oF 83rd STREET 


THE EXTERIOR 


The splendid Mansion, No. 1020 Fifth Avenue, at the northeast corner of 
Fifth Avenue and Kighty-third Street, was built by Mr. and Mrs. William Salo- 
mon for their own occupancy. Trowbridge & Livingston were the architects. 

It is a stately building, occupying the whole of the site, 68 feet by 100, on 
which it has been erected. The quiet and sober exterior in brown stone does not 
suggest the palatial richness of the interior; it offers, nevertheless, two strong fa- 
cades, one on each street, which are entirely satisfactory, with large windows in 
monumental frames, and bay windows on both fronts. One of these, on Eighty- 
third Street, is of bronze, and forms the street end of the Palm Room. 

The Mansion is four stories in height, with a basement that opens into a spa- 
cious areaway, enclosed within a high iron fence, supported by brown-stone piers. 
The fourth story is entirely hidden from the street by the balustrade carried all 
around the building above the third floor. 

The entrance is at the extreme left of the Fifth Avenue front, thus giving the 
maximum amount of space for the large rooms of the interior. It is approached by 
a short flight of brown-stone steps, and is framed in Griotte marble, the single 
stone of color in the exterior, and is surmounted by a marquise. 


THE FIRST FLOOR 
THE ENTRANCE AND VESTIBULE 


The massive entrance doors are of rosewood, decorated with molded panels, 
the centermost of which has a large bronze lion-head carrying a ring. ‘The storm 
doors have iron frames encasing sheets of plate glass. The Griotte marble frame 
of the exterior of the door is continued on the inner surface, where it is developed 
into an ornamental pediment. 

Just within rise the steps, of Istrian marble, that reach the level of the main 
floor. The walls are entirely faced with light green marble, treated with molded 
panels at the steps. The single ornaments are the side lights, bronze cupids, two on 
each side. ‘The ceiling is arched and paneled, with gilded frames in reliefs of scrolls 
and ornaments; the paneled centers are painted with grotesque heads and floral em- 
blems on blue grounds. At the top of the steps is the inner door, a high round arch 
enclosing magnificent panels of wrought iron, lined with plate glass. 

lA il ab iF : . ‘ 7 . 5 : si . . 

The rich materials of the entrance at once disclose the fact that the interior 
of the Mansion is quite different from the exterior. One does not need to advance 
farther than just within the entrance door, to realize that here is a building war- 
ranting serious consideration as a work of art. 

The Vestibule is not large, but is of quite sufficient size to fill its purpose. It 
is square in plan, and is wholly lined with marble. The walls are of white marble 
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oe - ches nee by columns of green and white polished marble with Tonic 

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capitals, ae in enns eae The segments of the arches enclose circles of 

green marble, and the spandrils are decorated with appli | 
I pplied shells and triangular 


MAIN HALL, FIRST FLOOR, AND GRAND STAIRWAY 


ornaments in blue and gold. The ceiling is a dome, the lower part of which has 
two rows of caissons with small decorative figures, with triangles and squares fill- 
ing in the blank spaces. Above is a band of figures, heads and grotesques. The 
prevailing coloring of this decoration is blue and gold in soft tones. 

On the left side, as one enters, is a built-in marble shelf, decorated below with 
cherub heads. Immediately in face is a wrought-iron door, opening into a passage 
where is the elevator, and connecting with the service departments in the base- 
ment, and with the pantry adjoining the Dining Room in the rear. Here, also, 
are the service stairs, running from the top to the bottom of the Mansion. 

To the right is a square-headed doorway opening into the Central Hall. The 
piers on either side have inset marble panels of grotesques and flowers, enframed 
within narrow mosaic borders. 


THE CENTRAL HALL 


The Central Hall is a magnificent apartment, occupying the middle of the 
Mansion. It rises to the roof, extending through the two chief floors, and is sur- 
mounted by a glazed dome. It is entirely lined with white marble. The floors are 
of marble with paneled borders. 

The grand staircase rises in the center of the innermost wall. It is a monu- 
mental structure, with wide steps rising to the first landing, where it turns to the 


NOTVS GNVUO AML 


left, and reaches the second floor just above the entrance from the Vestibule. It 
is contained within a marble balustrade that is continued around the opening at the 
second floor. Each newel, at the base, is surmounted by a marble cherub, lovely 
and gracious figures of a most appealing beauty. 

While the staircase is the chief architectural contents of the Hall, it by no 
means furnishes the principal decorative features. These are supplied by the mar- 
bles with which the walls are decorated, and which constitute a group of most un- 
usual interest. They were originally in a villa at Bagheria, not far from Palermo. 
Although late in date, they constitute one of the most important ensembles of Late 
Renaissance sculptures in America. Originally they formed part of an external 
stairway; here, of course, they have been transposed and adjusted to the spaces 
available for them, and as best adapted to the decoration of this sumptuous apart- 
ment. 

And their utilization has been exceedingly clever. While at first glance they 
may seem somewhat irregularly disposed, and that some panels stand quite alone, 
this is actually not so; their disposition is entirely orderly and symmetrical, al- 
though the points of symmetry may seem somewhat distant. ‘There are friezes ap- 
plied to the longer walls; panels over the doorways; upright panels beside the 
principal openings; panels on the stair walls; and two lovely caryatids support- 
ing the ceiling. All the panels have mosaic backings, more or less in evidence, and _ 
quite necessary in order that the sculptures be adapted to their present locations. 
The soft reds and blacks of these mosaics are of such tones that, from the base of 
the stairs, the panels on the stair walls seem of pierced marble; only close at hand 
does one realize that these are large slabs to which the sculptures have been ap- 
plied. 

There are four main doorways opening from the Central Hall: from the Ves- 
tibule, to the Grand Salon, to the Small Salon and to the Palm Room. Each is 
surmounted by a decorative panel whose chief motif is a pair of cherubs support- 
ing a disk of red marble. By the entrance doorway, the doorway to the Grand 
Salon and by that to the Small Salon are long panels with decorations of cherub 
heads, foliage, scrolls and grotesques. The wide frieze along the wall of the Grand 
Salon has pairs of cherubs supporting cartouches with heraldic emblems. The 
frieze along the wall of the Small Salon is similar, save that the cartouches carry 
floral designs. 

The panels on the stair walls are quite different. These are applied to the 
main wall as one ascends, and continued on the right. ‘They are five in all. The 
first two are the largest, and show vases developing into foliage, with dolphins, 
fronted birds, hanging fruits and foliage, with a bird on a nest at the top of the 
first panel, while a seated lamb completes the decoration of the second panel. The 
third and fourth panels are somewhat smaller, and show cartouches with cupid 
heads at the top. The final panel is triangular in shape, with an angel in high 
relief, holding a trumpet in one hand and a crown in the other. All the panels 
are set in carved and molded frames. 


AVMUIV.LS GNVYS AO MHIA HLIM ‘NOTVS GNVUD AML 


Like the first floor, the second floor of the Central Hall is paved with white 
marble, with borders of red and green. ‘The doorways to the various rooms have 
marble frames. Over three of them are oval panels decorated with paintings and 
upheld by scrollwork. 'The exceedingly sumptuous effect of this upper hall is 
chiefly due to the ceiling. This is an exceedingly gorgeous composition, heavily 
molded, with panels in blue separated by roped bands, all richly gilded. In the 
four corners are circular painted panels inset in rich frames. A similar treat- 
ment of blue and gold caissons is used for the ceiling in the lower floor. 

Over all is a great glazed oval dome, with a richly decorated framework. 


THE GRAND SALON 


The Grand Salon is a noble room, occupying the whole of the Fifth Avenue 
front, except the space required by the entrance and the Vestibule. The walls are 
entirely faced with a boiserie in white and gold, and which has been utilized in its 
original form. It is understood to have been originally in a house in Paris, the 
property of the Marquise de Hopital, and was made in 1757, and is quite un- 
touched. 

The boiserie consists of wide and narrow panels, separated by slim pilasters. 
The wide panels enclose either double doors or mirrors; the narrow panels serve 
as points of separation, the pilasters give emphasis to the various parts. The 
whole is wonderfully harmonized and the decorative adjuncts are rich and beauti- 
ful. The ground is white; the ornamental detail everywhere is gilded. 

The entrance wall contains six panels. Of these the central one is the widest 
and is the entrance from the Central Hall. On either side is a small panel; be- 
yond these a wide one; then another narrow panel; and on the extreme right, a 
doorway. 'To the left of the entrance the paneling is the same as on the right; save 
at the extreme end, where the final panel, just beyond the doorway to the Small 
Salon, is slightly narrower than the other wide panels. On the Fifth Avenue side 
there are again six panels, the midmost and widest being the bay window. Two 
windows open into other panels, the remaining surface being treated as the en- 
trance wall. Hach end contains three panels. In the center, on Kighty-third 
Street, is a window, with a wide panel on either side; in the center of the oppo- 
site wall is the fireplace; the adjoining panels containing double doors. 

At the base of the walls is a narrow band of red and white marble; it is a 
mere support to the wood, and is no part of the decoration. The lower part of the 
boiserie is finished with a series of small rectangular panels that constitute a base. 
The large panels have simple carved outlines and contain mirrors, some with 
straight tops, some arched. All the mirrors have gilded frames, decorated with 
twisted ropes of foliage, developed at the top into hanging festoons, and com- 
pleted with ornamental headpieces with a shell center, and with flowers, arrows, gar- 
den tools and other emblems and with two birds in high relief. The narrow panels 
are also outlined with gilded moldings, and provided with ornaments at top and bot- 
tom; to the center of each is applied a girandole in gilded bronze. 

The doors, which have the value of individual panels, are in beautiful harmony 
with the wall panels. Each is doubled and all are supplied with locks and fixtures 


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VIEW OF GRAND SALON, FACING FIFTH AVENUE 


in chiseled gilded bronze, exquisite details that hardly count in the whole vast 
space, but extremely fine and handsome. Fach side of the door has three panels; 
below, a rectangular molded panel; then a narrow one decorated with ribbons and 
flowers; and above, a large panel, with a decoration of wreaths, flowers and rib- 
bons below, and hanging flower baskets with emblems above. All this decoration 
is carved in the wood and gilded. Over each door is a small gilded panel with me- 
dallions in relief, encased within borders of flowers, with sprays of foliage. 

The fireplace is in delightful harmony with the rest of the room. It is small 
and low and of white marble. At each end is a channeled column, with a rosette 
above. The connecting frieze is very delicately carved in arabesques, and the iron 
lining is in keeping with the general design. Over it is a mirror and panel of the 
same general design as the other mirrored panels. 

Of the other decorative features of the room, mention should be made of the 
small pilasters that serve as points of division between the upper panels, They are 
narrow, and treated with bands of carved foliage, with small capitals, all gilded 
throughout. On the Fifth Avenue front two of the mirrors have consoles below 
‘them. They are segments of circles, carrying bands of foliage and supported by 
volutes; below is a carved group of lyre and foliage. The shelves are white mar- 
ble. The bay window on Fifth Avenue has a roped frame with shell in the center. 
The recess has plain panels on each side, and the three windows have roped frames 
and metal mounts. The ceiling, decorated with a flower basket and scrolls, is sup- 
ported by a molded frieze. The ceiling of the main room is white plaster and is 
without ornament. It is supported by a coved frieze and crown, which is modern 
and has been added to adapt the boiserie to the dimensions of the room. Nor 
should the splendid marquetry floor be overlooked in listing the permanent fea- 
tures of this very notable room. 


THE SMALL SALON 


The Small Salon opens from the Grand Salon, and extends along the Eighty- 
third Street front of the Mansion, Here, again, is a fine old French wainscoting 
applied in its original form. ‘The main divisions of the walls are marked off with 
pilasters without capitals, and are decorated with bands of narrow moldings. 
There are small plain panels below, and larger decorated ones above. These have 
molded outlines, with groups of ornament at the base, and, above, hanging festoons 
with flower baskets and festoons. All these decorations are carved in shallow re- 
cesses cut in the main surface of the panels. 

The chimney breast is in the center of the street side, and projects slightly 
into the room. It contains a fireplace of gray marble with bronze mounts. At each 
end is a small column, over which is a bronze rosette. Bronze ornaments are ap- 
plied to the frieze and the lower spandrils. There is a hearth of the same marble 
and an iron lining. 

Above is a large mirror, with a high-arched top. It is set in a frame of pilas- 
ters with delicate branches of foliage, and a caissoned arch, over which hang fes- 
toons of foliage. There is a similar mirror, framed in the same way, on the oppo- 
site wall, and one on each side of the doorway from the Grand Salon. 


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THE SMALL SALON, OR RECEPTION ROOM 


There are three doorways to this room: one from the Grand Salon, one from 
the Central Hall, and one leading to the Palm Room, which is farther on. Over 
each of these is a relief of cupids, which are a part of the series used in the Cen- 


tral Hall. 


THE PALM ROOM 


The Palm Room is beyond the Small Salon, with which it is connected by a 
deep recess, closed by a double doorway of plate glass in a frame of molded gilded 
wood. ‘The walls and floor are entirely lined with white statuary marble. ‘The 
floor has a double border of dark and light green marble. The walls have a plain 
paneled dado, above which are panels of light green marble, inset in white. The 
special decorative feature of the room, however, lies in its splendid collection of 
columns of colored marble of Italian origin. 

On the Eighty-third Street end is a rounded bay window with semi-dome, the 
framework of which is wholly of bronze. At each side of the opening is a high 
column of polished marble, each different in color, and both with Corinthian ecapi- 
tals. Eight shorter columns, again different in color, support the marble cornice of 
the wall paneling. And at the end, opposite the bay window, is a shallow niche, 
with a marble seat, above which are eight more columns applied to a mosaic back- 
ground decorated with candelabra and foliage on a gold ground. The semi-dome 
of the niche is filled with a mosaic lattice pattern in green and gold. 


An opening from the Central Hall is without doors, but is framed in white 
marble. On each side is a marble relief of grotesques and foliage, surrounded 
with a mosaic border. Directly opposite is a similar opening to the Dining Room. 
Here the thick separating wall again forms a kind of recess; again, on each side, is 
a marble relief of festoons and grotesques growing out of vases, and set in frames 
of carved wood. The segmental ceiling of the room is modern, and is of plaster imi- 
tating wood. It is paneled with molded borders separated by garlands. 


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ITALIAN LAVABO IN PALM ROOM 


The general treatment of this room, and especially the fine utilization of the 
extraordinary collection of old Italian marble columns employed in its decoration, 
would alone make it remarkable. But it contains another notable permanent fix- 
ture in the fine Italian Lavabo, affixed to the center of its longest wall. This beau- 
tiful piece was taken from an old palace in Venice. It is beautiful alike in general 
design and in the exquisite patina that age has given its marble. It consists of two 
basins crowned with an arch, and thus presents four parts. 


The lower basin is supported by two birds, one at each end, and is faced with 
a rather narrow cornice, richly carved. ‘The piers carrying the second basin are dec- 
orated with cupids in relief. The frieze at this section is carved with foliage in low 
relief and with three winged cherub heads. ‘The top cornice, again richly decorated, 
is supported by griffons. The crowning arch has a decorated border, within which 
are foliated panels. The whole piece is in fine preservation, and is perhaps to- 
day more beautiful than when first set up, owing to the softening effect of time 
and usage. 


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THE DINING ROOM 


The Dining Room runs across the rear of the Mansion, and is lighted by win- 
dows at both ends. The entrance from the Palm Room is through a wide double 
doorway. The doors are of plate glass in gilded frames, covered with a lattice- 
work of wood with small rosettes, all gilded. The interior door frame is a mag- 
nificent old Italian piece. It is encased within two great columns of wood, painted 
old-blue and superbly decorated with foliage and cupids in relief, gilded. The 
Corinthian capitals carry a rich entablature, wide-spreading at the top, with a 
frieze with three panels, the midmost of which carries the inscription: 


TOTA PVLCRA 
ES AMICA MEA 
ET MACVLA NON EST 
IN TE 


WOOUW ONINIG AHL 


we 
By sna Sa 


The sumptuous coloring of this monumental frame, old-blue and gold, gives the 
keynote to the whole room. Its exceedingly elaborate decoration, as well as its 
coloring, is repeated in the ceiling. 

At the Eighty-third Street end is a bay window with three sides. On each side 
of the opening is a splendid colossal column of Bréche Violette marble, of Italian 
origin, and dating probably from the seventeenth century. Of the many rich mar- 
ble columns in the Mansion, these are unquestionably the choicest, for this splendid 
marble is seldom available for columns of this size. That they have gilded bases 
and carry gilded Ionic capitals are mere details; their superb surfaces and great 
size make them among the most notable marbles in America. 

The walls have a walnut dado, to which are attached three consoles of Siena 
marble with bracket supports picked out in gold. The hardwood floor is a mag- 
nificent piece of wood mosaic, and has a border of Siena and Numidian marble. 
The bay window is entirely floored with marble, and a narrow band of Siena marble 
supports the walnut dado. 

Immediately opposite the entrance doorway is the chimneypiece. It is an elabo- 
rate structure, the end piers of which are supported by small coupled columns of 
red marble, whose capitals, with carved heads on the corners, support brackets with 
acanthus leaves. A rather narrow cornice, with foliage in low relief, supports the 
main frieze of dancing angels. These form a continuous joyous band running be- 
hind small columns of red marble carrying the crowning cornice, which is carved with 
foliage, and has a grotesque head in the center of each projected end. Above is an 
inclined truncated top panel, with flying angels carrying a heraldic insignia within 
a wreath. And at each end is a free standing child angel embracing a candelabra. 

There are two windows at the inner end of the room, and between them is an 
open cabinet, which was originally a window frame in an old Venetian palace. It 
now stands on a base of Siena marble, and consists of two slender pilasters support- 
ing the crowning frieze, and enclosing two stories of small columns, with a separat- 
ing band of ornament. The entire surface is carved throughout, the end pilasters 
being decorated with panels, and the inner columns covered with foliage and vines. 
The colors are blue and gold, corresponding to the prevailing colors of the room. 


THE SECOND FLOOR 
THE MASTER’S SUITE 


The Master’s Suite occupies the Fifth Avenue front of the second floor, and 
consists of a large bedroom on the corner, boudoir and bath, with an additional 
bath and bedroom on Kighty-third Street. 

The main bedroom has a boiserie taken from the chateau of the Comte d’Au- 
tun, at Autun, in Burgundy. The walls are treated in large rectangular panels 
with molded frames, with carved festoons in the upper part. There are small panels 
below and above, and the walls are finished with a frieze and cornice. At one end 
a mirror is applied to the panel, and the fireplace is built in the southwest corner. 
The fireplace is of white marble, with a beaded frieze carrying a head in an octagon 


in the center, supported by columns of white and green marble. Above is a mirror 
in an arched frame. 


HOOTH GNOOUS “TIVH NIVW AML 


The doors form the most notable part of the boiserie. ‘They are double, each 
with three sets of panels; the lower contain large ovals; the small intermediate 


THE MAIN BEDROOM, SECOND FLOOR 


panels are carved with delicate foliage; and the large upper panels are richly carved 
with flowers and foliage in high relief, very beautifully done. ‘The metal mounts 
are of chiseled bronze, gilded. Above the doors are semicircular panels, decorated 
with figures in gray and white. 

The Boudoir, which adjoins this room on Fifth Avenue, has a large round- 
arched window. It is paneled in wood, with large panels with a lattice decoration 
in their upper parts. One wall is filled with closets, decorated in the same way. but 
with mirrored fronts. The ceiling has a deep cove, ornamented in gold. 

The Bath Room attached to this suite is the most notable of the many such 
rooms in the Mansion. It is lined throughout with marble, the walls having pilas- 
ters with Ionic capitals, between which large panels of onyx have been inserted. 
It is divided into two parts by a marble railing. The inner part is lower than the 
outer, and is reached by a short flight of semicircular steps. The bath tub and 
shower are in the lower section. The ceiling is a half circle treated as a dome in its 
decoration of mosaic, in soft grays and blues, ornamented with trellises and grapes. 
The room is lighted by a large round-arched window on the Avenue, and the en- 
trance door is surmounted by a mosaic decoration with cente?r circle. 


ee tha 


- 


AONGAV HLA ONIOVA “YOOTA GNOOUS ‘WOOUGAM NIVIV 


MASTER’S BEDROOM, SECOND FLOOR 


At the other end of the Suite, opening onto Eighty-third Street, is a second 
bath room, connecting with another bedroom. The doors and mantel are of the 
same beautiful character as those in the main bedroom. 


THE INNER HALL 


The main stairway in the Central Hall rises only to the level of the second 
story. A subsidiary hall extends from the Central Hall to the Library at the rear, 
and contains the stairs leading to the third floor. It is paneled throughout in oak, 
in narrow molded panels, surmounted by a broad frieze. The ceiling is white, with 
exposed beams. 

The stairs rise to the left, enclosed within handrails of pierced oak in a compli- 
cated pattern of circles and foliage. This handrail is on both sides of the lower 
flight of steps; in the upper section, which adjoins the wall, it is on the outer mar- 
gin only. 


UPPER PORTION OF STAIR WELL, THIRD FLOOR 


The upper portion of the stair well is one of the most charming parts of the 
house. Like the lower hall, it is paneled in oak; but here the paneling is in long 
upright sections alternating with painted panels of the school of Fragonard, which 
were taken out of a chateau near Vienna, in Austria. There are seven of these pan- 
els, delightful pieces, very fresh in color, and very characteristic of their period. 
The paneled ceiling has a ceiling light, filled with soft yellow glass. 


THE SECRETARY’S ROOM 


On the right of the Inner Hall is a door in old oak, decorated with cherubs’ 
heads, horns of plenty, and flowers. It opens on to the Secretary’s Room, a small 
apartment, richly paneled in old oak. The walls have superb panels of richly 
carved oak, in exceedingly intricate design, inserted in them, notable pieces merit- 
ing the most attentive study. The frieze is formed of smaller panels decorated 
with symmetrical patterns. The doors are enclosed within channeled pilasters, 
standing on high molded bases, and a small head is at each end of the surmount- 
ing frieze. 


THE SECRETARY’S ROOM 


The fireplace is set diagonally across one corner. Faced with pink Numidian 
marble, the opening is surmounted with a frieze of grotesque heads between molded 
panels. The overmantel has three panels carved in low relief, and the crowning cor- 
nice is supported by richly ornamented pilasters ending in heads. An outer scroll 
decoration completes this interesting piece. 

The geometrical ceiling of the room is treated with decorated panels. 


THE LIBRARY 


The Library is at the extreme end of the inner hall, and occupies the space 1m- 
mediately above the Dining Room. It is hence an apartment of noble dimensions, 
and its permanent fixtures contain a number of notable pieces. 

The entrance doors have plainly molded panels on the hall side; but within they 
offer four large panels delicately carved in low relief with intricate designs. They 
form the central feature of an elaborate composition, all in oak. On each side is a 
column whose entire surface is carved with foliage, and which stand on plainly 
molded pedestals. Above is a triangular balcony, supported on carved brackets, 
and having a pierced balustrade, with panels enclosing angels supporting a car- 
touche, with foliage and spirals. 


AUVUEIT AHL 


ESSRESDCCESEAS BNTNPEASERERSEEASE AUS ESS OTATATISUORERTSTSSSESAVSESH YS SE SL EDS Tidy 


DOORWAY AND BALCONY OF LIBRARY 


Farther on, symmetrically placed with regard to the entrance doorway, are two 
superb old oak double doors, one on each side of the center. The frames have deco- 
rated moldings, but the doors themselves are extremely rich and beautiful. Each 
half has five panels, three narrow ones with flat cartouche-like decorations, and two 
rectangular upright panels, containing smaller oval panels, all exquisitely carved, 
and constituting works of art of the highest order. ‘The door handles, like the 
handles of the entrance doors, are bronze heads, here inset in the carvings of the 
central narrow panels. Above the doors are paintings, inset in narrow frames. 


Ron 


ee 
os SEES 


sO te SS 


ELABORATE CARVED STONE CHIMNEYPIECE IN LIBRARY 


Opposite the entrance door is the chimneypiece. It is an elaborate composition 
in two parts, the fireplace and the overmantel, the whole richly carved in stone. 
The fireplace is contained within an elaborately carved frame, with outer pilasters 
with decorated panels, and with rich capitals, each presenting a grotesque head. 
The frieze depicts the story of Adam and Eve, with small figures and trees in the 
end pieces. 


The connecting band is narrowed over the opening, and has a band of 
delicately carved foliage, with birds eating grapes. In the center is a bracket 
carrying, in the upper frieze, a delicious little angel playing a viol. This second 
frieze is carved with foliage, birds and cartouches, with a mask on each end. It is 
completed with a decorated cornice. 

The overmantel is a superb composition, presenting a Roman naval engage- 
ment. Like the lower part, it is wholly in stone, the central scene being carved in 
high relief. On each side of the frame is a heroic figure of a nude warrior, stand- 
ing behind armor and arms grouped below. A frieze of helmets and draped flags 
is surmounted by the final cornice. 


a SLi et ne ae Aa ea 
e) 


4 


The room is lighted by three windows at each end. Each group is in a shallow 
recess, with a walnut column wholly carved with foliage at each end. The col- 
umns have two drums, the lower shorter than the other, each with a pair of boldly 
projected angel heads. They stand on low paneled bases, and are surmounted 
with Corinthian capitals. 

The walls are covered with red silk velvet, and are finished with a carved 
wood cornice, the upper member of which has molded corbels with rosettes between 
them. Above is a deep cove, paneled and molded with colored decorations in low 


Tite veer ae 


liek 


fa 
= 


relief. A heavy roped frame encloses the painted ceiling, representing the “Apo- 
theosis of Louis Quatorze.” Seated on a cloud, a figure of France approaches him 
with a plaque bearing the arms of France. Little angels fly around with the royal 
emblems; a larger angel blows a trumpet, and another empties the horn of plenty. 
A brilliant and vigorous composition. 

The floor is a splendid specimen of inlaid marquetry with ornamental borders. 


THE THIRD FLOOR 


BLUE BEDROOM, THIRD FLOOR 


The Third Floor contains bedrooms, arranged in suites with connecting baths. 
In a general way these all open on to a corridor running around the space occu- 
pied by the dome of the Central Hall. It has a round-arched ceiling, and is 
trimmed with walnut; the walls are red silk damask. ; 

The most important of the bedrooms is the corner room overlooking Fifth Ave- 
nue and Kighty-third Street. It is known as the Rose Room, from the color of the 
furniture. It is paneled in wood painted gray, with small lower panels and upper 
ones in two tiers, with ornaments above and below. A shallow decorated cove sup- 
ports the ceiling. The windows have segmental tops, and there is a built-in mirror 


between those on the Avenue. The fine old French fireplace in the corner is rose 
and yellow marble, molded, with a mirror above it. Over the doors and mirrors 
are painted panels representing the arts, taken from a dressing-room of the Comé- 
die Francaise. Most of these panels are originals, but some additional ones were 
necessitated by the size of the present room. 


ANOTHER VIEW OF THE ROSE BEDROOM ON THIRD FLOOR 


The adjoining room has some similar painted panels over the doors. The wood- 
work is painted white, and the walls are hung with fawn silk with embroidered bor- 
ders. The fireplace is white marble with caryatids. 

Of the other rooms on this floor special mention should be made of the Small 
Library on the Kighty-third Street side. It is finished with oak, with a ceiling 
with exposed beams. It is entirely surrounded with open bookshelves. The doors 
have channeled pilasters on low bases, and the frieze is decorated with small carved 
heads and ebony panels. The fireplace is faced with Dutch tiles, and the overman- 
tel has a frieze of carved wood panels. 


HOOT. GHIH.L ‘WOOUdHH ASOU 


SMALL LIBRARY, THIRD FLOOR 


THE BASEMENT 


The Basement is reached from a Central Hall by a flight of marble steps en- 
closed within a passage wholly lined with marble, both walls and ceiling. At the 
base is a Foyer, floored with white marble, with purple and green borders. On one 
side is a door to a recess that leads to the service section; on each side is a marble 
column. 

Directly in face is the door to the Billiard Room. It has an ornamental frame. 
whose cornice is carried on a pair of cupid caryatides supporting the frieze. The 
doors are plate glass. The Billiard Room is treated with walnut, with walls of 
red silk damask and a narrow oak cornice. ‘The entrance doorway has fluted col- 
umns on either side, with high carved lower drums and Corinthian capitals. The 
bay window opening is supported by marble columns with Ionic capitals. 'The fire- 
place, of white marble, is delicately carved with a frieze of heads, garlands, grif- 
fons and festoons. The room connects with a Lavatory at a slightly lower level, 
wholly lined with marble. . 


THE SERVICE ROOMS 


The Service Rooms are, for the most part, located in the basement. Here are 
the kitchen, laundry, linen room and trunk room. The cellar contains the furnace. 
The Butler’s Pantry, which immediately adjoins the Dining Room on the first 


WOOU CGUVITUA 


PURUSEN ORES 


—S eae. ae Te i. *\8. °s +a ee 


floor, is fitted with every possible convenience, and contains the silver vault. 
inets for glass and other table articles are arranged in a balcony within tl 
Pantry. as 

The servants’ quarters are on the fourth floor, which contains fifteen | b 
and three baths. 

While the ornamental rooms of the Mansion are the parts that nece 
tract the most attention, and rightly so, for a wealth of artistic material ] 
into their structure and decoration, it is a dwelling intended to be live 
is equipped throughout with all the modern conveniences needed to n 
able. 


ORD ROE SoA LE 


WEDNESDAY, APRIL 4TH AT 2:30 P.M. 


SILVER, ITALIAN BRONZES, FABRICS AND MISCEL- 
LANEOUS OBJECTS. 


THURSDAY, APRIL 5TH AT 2:30 P.M. 


EUROPEAN PORCELAINS, ITALIAN FAIENCE, FRENCH 
BRONZES, CLOCKS AND CANDELABRA, ANDIRONS, 
MARBLES. 


THURSDAY EVENING, APRIL 5TH AT 8:30 P.M. 


FRENCH AND ITALIAN PAINTINGS, MARBLES, DELLA 
ROBBIAS, ITALIAN BRONZES. 


FRIDAY AFTERNOON, APRIL 6TH AT 2:30 P.M. 


MINIATURES, ENAMELS AND OTHER CABINET OB- 
JECTS, DRAWING ROOM LAMPS, STATUETTES, 
BRONZE ANDIRONS, CHASUBLES, COPES AND OTHER 
ECCLESIASTICAL FABRICS, RUGS AND MARBLES. 


SATURDAY AFTERNOON, APRIL 7TH AT 2:30 P.M. 


TAPESTRIED FRENCH AND ITALIAN FURNITURE, 
MANY PIECES SIGNED. TAPESTRIES. 


GAA IZ ©.G_U- 


FIRST AFTERNOON'S SALE 


WEDNESDAY, APRIL 4, 1923 


IN THE ASSEMBLY HALL 
OF 


THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


CATALOGUE NUMBERS 1 TO 174, INCLUSIVE 


MISCELLANEOUS BRONZES 


p+?" 1 OUR BRONZE ORNAMENTS 


Busts of the infant Bacchus, draped with branches of the vine in bearing. 
Dark, dull patina. Two have wood pedestals. 
Height, 41% inches. 


se 
pr 2—OLD BRONZE ORNAMENT 


A massive lion’s head, hollow-cast; dark, thick patina. 
Height, 41% inches. 


fo: 3—SET OF FOUR GILT BRONZE DRAWER HANDLES 
In form of lion-heads holding twisted loose rings. 
Height, with ring-drop, 41%, inches. 
6°: 
4—SET OF THREE GILT BRONZE FINIALS 
In form of winged putti with dolphin legs. Varied patina. 
Length, 64% inches. 


FRENCH, RENAISSANCE AND OTHER SILVER OF THE 
SEVENTEENTH AND EIGHTEENTH CENTURIES 


gi 
5—SILVER-GILDED SALTCELLAR Spanish Seventeenth Century 


Low lobed and molded bowl. On open pierced scrolled legs. 


0 
,4-6—-GILDED SILVER SALTCELLAR Italian Renaissance 
Round, with roll over rim; engraved with arabesque scrollings having fleurs- 
de-lis motives at intervals. Elaborately scrolled high feet. Engraved 


A.M.B.R. under base. 


Diameter, 3°/ inches. 


a 
5 7—GEORGIAN SHEFFIELD PLATE SNUFFERS AND TRAY 


‘ Eighteenth Century 


Scrolled boat-shaped tray, with thread edge, pierced leaf band and small urns 
at ends. Snuffers with shell and rosette motives on handles. 


Length, 101% inches. 


5° 


4? 3 SILVER COFFRET French Renaissance 
Oblong, with hinged peaked cover and ball feet. Enriched in bas-relief with 
mascarons and clusters of fruit. Marks, coronetted G.L. and maker’s mark. 


Length, 5 inches. 


Formerly in the collection of Joseph Dixon, London, in his sale at Christie’s, London, 
March 23, 1911. 
vi 


ee 
9—-RUBY GLASS GOBLET, MOUNTED IN GILDED SILVER 
German Seventeenth Century 


Aventurine ruby glass cup; irregularly faceted and fluted at lip. Mounted 
on molded round silver-gilt base, enriched with floral motives and gadroons. 


Height, 7% wmches. 


In the collection of the Marchioness of Conyngham, May 4, 1908, subsequently in the 
collection of Joseph Dixon, London, No. 92 in his sale at Christie’s, London, March 
23, 1911. 


(6) « 
10—REPOUSSE SILVER VASE Flemish Renaissance 


Tapering body, molded and leaf valanced at crown and foot. Enriched with 
three cherubs’ heads in full relief supporting festoons of fruit and flowers, 
molding at foot with clustered fruit interrupted by winged cherubs’ heads. 
Marks, EF and crowned D in shield. 


yo 


Height, 8 inches. 
ey alt 
h) 2. 
nl “ 11I—TWO RENAISSANCE AUGSBURG SILVER PITCHERS 
Vase shape; with scrolled mouths. | Enriched with cupid-heads, leafage and 


scrolled handles. Surmounted by a warrior’s head. Hall mark, impressed 


cartouched berries and letter H. 
Height, 514 inches. 


o~ 
y? 12—SILVER-MOUNTED CRYSTAL FLAGON Renaissance Style 
Flattened bottle shape, cut with stellate motives. Mounted with pierced 
arabesque bandings of silver centering at colored medallion of a hound. 
Stopper with terminal of male figure. 


at 


10° 
13—ENGRAVED SILVER EWER AND BASIN 
Pitcher, gadrooned vase-shaped body, with spreading lip and leaf-scrolled 
handle; engraved with sprays of flowers. On high molded round foot having 
leaf enrichment. The basin of oval shape, with molded rim interrupted by 
shell scrollings. 


Height, 12°4 inches. 


Pitcher: Height, 10% inches. Basin: Length, 16 inches. 
Ae ie 
14—GOBLET Augsburg School 


Repoussé gourd-shaped bowl, chased with small figures and animals in land- 
scapes, and petal-shaped panels of masks and strapwork, on vase-shaped 
panels of masks and strapwork, on vase-shaped stem chased with rams’ heads 
and trefoil foot with border of cherubs and fruit. 
Height, 984 inches. 
Formerly in the collection of Joseph Dixon, London, and No. 16 in his sale at Christie’s, 
London, March 23, 1911. 


ese 
15—FLORENTINE SILVER LION FLAGON 


Rampant lion, resting forepaws on shield bearing Florentine coat-of-arms. 


Bracketed oval base, enriched with strap arabesques. 
Height, 101% inches. 


9 


16—PARCEL GILDED SILVER CHALICE CUP 
Nuremberg Late Sixteenth Century 


Deep bell-shaped body, with gilded valance engraved with laurel band inter- 
rupted by arabesqued scrollings developing wreaths of flowers and festoons. 
On gadrooned and flanged baluster shaft and molded dome foot having a 


valance of gilding. Marks indistinct. 
Height, 8 inches. 


A\9 


17—RENAISSANCE GILDED SILVER COVERED COUPE 
Augsburg Style 


Deep bell-shaped coupe; enriched with strap arabesques, scrollings, festoons 
and fruit at base. Finely bracketed baluster shaft, with recurring fruit at 
foot. Cover with arabesques and figure of warrior as terminal. 


Height, 12% inches. 


(Illustrated) 
ee 
y 18—SILVER-MOUNTED SHELL CUP Renaissance Style 
Brown and cream nautilus shell; mounted in silver with strap arabesques, 
festoons of fruit, surmounting triton riding dolphin. Supported on dolphin 
shaft with fluted and molded round base. 
Height, 9 inches. 
ee 
\" 19—SILVER BRIDAL CUP Dutch Seventeenth Century Style 
Standing figure of bride wearing voluminous embroidered skirt and holding 
aloft within scrolled arms a swinging cup formed of a small polished 
nautilus shell mounted in silver. 
Height, 12 inches. 
(Illustrated) 
be 
20—GILDED SILVER STANDING COUPE Renaissance Style 


Bell-shaped coupe; enriched with series of flame and ball-shaped bosses, in- 
terrupted by strap arabesque scrollings. Similarly adorned cover, with fig- 
ure of warrior as terminal. Long inscription on lip, terminating with date 
1714. Bracketed baluster stem, with bossed and arabesqued round foot. 


Height, 14 inches. 
(Illustrated) 


19 17 


No. 17—RENAISSANCE GILDED SILVER COVERED COUPE (Augsburg Style) 
No. 19—SILVER BRIDAL CUP (Dutch Seventeenth Century Style) 
No. 20—GILDED SILVER STANDING COUPE (Renaissance Style) 


© * 


2 21—CHISELED SILVER TAZZA Renaissance Style 
Low molded circular bowl enriched with “Tritons and Nereids” and three 
seated figures of “the Graces” on shoulder. Satyr base, supported with 


legs in the form of dolphins ridden by cupidons. On alabaster incurved 


molded triangular base. 
Height, 1014 inches. 


a" 
8) 4 
h,® 22 P ATR OF BEAKERS 


Repoussé with bands of fruit and masks, with applied gilt ornament. 


Formerly in the collection of Joseph Dixon, London, No. 78 in his sale at Christie’s, 
London, March 23, 1911. 


<0 * 
e 23—REPOUSSE SILVER MISSAL COVER Italian Renaissance 


Molded oblong front and reverse cover. Enriched with lily scrollings sup- 
porting a coronet and central oval wreath enclosing sacred monogram. 
Paneled and molded back with rosettes. Loose blank book. 


Length, 1114 inches; width, 8°4 inches. 


es 


: a 
Ege 4 
24—TWO COVERED STANDING COUPES Renaissance Style 
Deep bell-shaped coupe, enriched with gadroons, engraved scroll borders, 
coats-of-arms and inscription. Gadrooned cover, with standing warrior as 
terminal. Bracketed bulbous shaft and high gadrooned base. 


Height, 15 inches. 


Formerly in the collection of Joseph Dixon, London, No. 55 in his sale at Christie’s, 
London, March 28, 1911. 


(Illustrated) 


aa 
0 
Y 25—RUSSIAN PARCEL-GILDED SILVER COVERED CHALICE 


Bowl-shaped coupe; gilded and enriched with bunches of grapes and vines to- 
ward base, interrupted by medallions displaying symbols of the “Passion.” 
Laurel adorned cover with ball terminal. On spiral baluster stem and spread- 
ing base occupied by scenes from the “Calvary.” 

Height, 13% inches. 


(Illustrated) 


No. 24—TWO COVERED STANDING COUPES (Renaissance Style) 
No. 25—RUSSIAN PARCEL-GILDED SILVER COVERED CHALICE 


4° os 
i) 
22—TWO REPOUSSE SILVER BEAKERS 
‘ Holland Early Seventeenth Century 
AEs 
Displaying scrollings of peonies, roses, scrolled acanthus leaves, and crest, 
“A Lion Rampant.” Initialed G. M. and I. R. M., with date 1610. Marks, 


a dagger arched with pellets and a hand press. 
Height, 11 wmches. 


Formerly in the collection of Joseph Dixon, London, No. 62 in his sale at Christie’s, 
London, March 23, 1911. 


6 t 
27—ENGRAVED SILVER COFFRET Spanish Seventeenth Century 
Oblong, with round hinged cover and hasp. Engraved with interlacing ara- 
besque strip scrollings on pounced ground. Marks, “A. D. LIZ. Cano” 
within shield, and shield with castles. 


\o 


Height, 3 inches; length, 6 mches. 


Formerly in the collection of Joseph Dixon, London, in his sale at Christie’s, London, 
March 28, 1911. 


0: 
\ 
\ j 
28—SILVER-GILT EWER AND COVER 
Spanish Early Seventeenth Century 


With plain body of nearly cylindrical shape, with a reeded band round the 
upper part, the spout chased with a mask, and the handle formed as a cherub, 
the thumbpiece bifurcated, and the cover surmounted by a vase-shaped knob. 


Height, 834 inches. 
Formerly in the collection of Joseph Dixon, London, and No. 14 in his sale at Christie’s, 
London, March, 23, 1911. 
0 
ye v0 yo 
29—-TWO £SILVER ECCLESIASTICAL WINE AND OIL 
EWERS 


Vase shape; enriched with festoons of fruit, coat-of-arms, gadroons, satyr 
mask spout and scrolled handle. Small pineappled and domed cover. Mark 
indistinct. 

Height, 81% imches. 


Formerly in the collection of Joseph Dixon, London, No. 72 in his sale at Christie’s, 
London, March 23, 1911. 


0 


jd ae 


70: 
) 30—TWO SILVER ALTAR CANDLESTICKS Italian Renaissance 


70 « 


Pear-shaped scrolled baluster shaft, enriched with cherubs’ heads and acan- 
thus leaves. On curved tripod base adorned with further cherubs’ heads, 
floral festoons and scrolled legs having ball and claw feet. Deep rich oxi- 
dized patina. 


Height, 15 inches. 


31—OSTRICH EGG COVERED COUPE, MOUNTED IN GILDED 


SILVER English Eighteenth Century 


Bowl and cover, mounted with molded vertical strapwork; scrolled handles; 
on molded circular foot. Cover having flat terminal engraved with crest and 
monogram. Mark, T. H., under foot. 


Height, 11% inches. 


br 


a 


32—ENGLISH GILDED SILVER EWER AND TRAY 
By Lambert of London 


Vase-shaped ewer; with rustic handle, profusely enriched with vines bearing 
bunches of grapes and engraved coats-of-arms. Round tray with grape bor- 
der and similarly engraved coat-of-arms. 


Ewer: Height, 15% inches. Tray: Diameter, 14 inches. 


. 


bi yl" ' 383—GILDED SILVER COVERED VASE AND PEDESTAL 
English Eighteenth Century 


Deep bowl; on molded round base; pineapple terminated domed cover, richly 
scrolled handles; profusely adorned with repoussé vines bearing bunches of 
grapes. Molded square base with grapevine panels and rocaille molded foot. 
Hall mark, 1766. Maker’s mark, DS & RS. 


Total height, 26 inches. 


34—GILDED AND SILVERED MIRROR Renaissance Style 


Oval molded frame, both sides alike; finished in oxidized silver. Trimmed at 
quarters with masks of cupidons. 
Height, 12 inches. 


pb " 35—REPOUSSE SILVER PLAQUE Renaissance Style 
Lobed oval, with scroll piercings at quarters. Center with subject, “A Roman 
Triumph.” 


Length, 2114 inches. 
yo 


0 
n¥ 
YY 36—TWO SILVER-PLATED CANDLESTICKS 
Italian Eighteenth Century 


Triangular-sectioned baluster shaft. Enriched with scrolled arabesques, husk 
drops and leafage. Scrolled foot, with medallion, “Virgin and Child,” and 
claw feet. Tall candles for same. 

Height, 40 inches. 


37—REPOUSSE SILVER SACRISTY MIRROR 
Flemish Early Eighteenth Century 


Scrolled oblong frame. Enriched with central cartouches, leafage, vase of 
flowers and supporting cupidons. Gilded, scrolled and hinged support. 


Height, 13% inches. 


MISCELLANEOUS OBJECTS 


5: 
4° 383 GILDED TOOLED MISSAL COVER Italian Renaissance 


Oblong, enriched in gilded tooling with scrolled border, corners, and diamond 
center panel with cartouched papal coat-of-arms. 


Height, 17 inches; width, 11 imches. 
Ser 
\" 39 ENAMELED EBONY CASKET Italian Renaissance Style 


Molded oblong domed top; front enclosed with two doors; long drawer in 
base. Interior fitted with niched drawers. Enriched with silver enamel 
figure of warriors and scrollings. 

Height, 16 inches; width, 12 inches. 


ts a ee ore ct eae eae 4a 


a. 
3 40—CARVED IVORY HORN Renaissance Style 


Conventional shape, with oblong section. Enriched on face with subject, 
“Roman Warriors at Combat.” (Imperfect) 
Length, 12 inches. 


ee 41—CARVED IVORY HORN Flemish Renaissance Style 


Small powder-horn. Carved with two hounds attacking a bear. Terminat- 
ing in hound’s head. 
Length, 814 inches. 


15° 42—-LONG CARVED IVORY DOUBLE HORN Louis XIV ‘Style 


Elaborately carved with subjects, “Stag Hunting and Hawking.” Finished 
at head with satyr masks. 
Length, 474% inches. 
oe: a 
483—SILVER-MOUNTED IVORY TANKARD Renaissance Style 
Truncated form. Sculptured with “Bacchanalian Scene” and scrolled handle. 
Mounted with cupidons and scroll silver lid and foot. (Deep crack in body.) 


Height, 8 inches. 


BEAUTIFUL OLD TEXTILES AND EMBROIDERIES 
OF THE SIXTEENTH, SEVENTEENTH AND EIGHTEENTH CENTURIES 


a GOLD-EMBROIDERED MATS 
Italian Seventeenth Century 


Small squares; enriched in raised gold threads on tan silk with coats-of-arms 
amid scrollings. 


30 


* 45—GOLD BROCADE COVER Lows XVI Period 
Blue field. Woven with scrollings of flowers in gold. Trimmed with gold 
lace. 


Length, 18 inches; width, 17 inches. 


ee ‘46—BLUE BROCADE TABLE COVER _ Persian Seventeenth Century 


Rich old blue, woven with series of finely varied sprays of blossoms in crim- 
son, ivory and greens. Yellow border in light colors developing scrollings of 
stellate flowers. 

Length, 28 mches; width, 27 inches. 


J 
47—CIRCULAR ROSE-CRIMSON VELVET COVER 
Italian Seventeenth Century 


Rich-pile velvet, trimmed with gold galloon. 


Diameter, 19 inches. 


O; 
i 48—ROSE-CRIMSON VELVET COVER Italian Seventeenth Century 
Similar to the preceding. 
Length, 32 inches; width, 18 inches. 
40. | 
49—ROSE-CRIMSON VELVET COVER Italian Seventeenth Century 
Similar to the preceding. 
Length, 25 inches; width, 13 inches. 
35 
50—ROUND ROSE-CRIMSON VELVET COVER 
Italian Seventeenth Century 
Similar to the preceding. 
Diameter, 201% inches. 
60. 
51—GOLD-EMBROIDERED VELVET COVER Italian Renaissance 
Rich wine-red velvet, embroidered with Gothic scrollings of leafage. Trimmed 
with gold galloon. 
Length, 20 inches; width, 174 inches. 
OF 
52—GOLD-EMBROIDERED DAMASK COVER Italian Renaissance 
Enriched with intricate stellate motive in gold toward crown. Trimmed with 
gold lace. 
22 inches square. 
583—GOLD BROCADE COVER Persian Seventeenth Century 
Rich crimson. Woven in blue and gold with infloretted lotus motives. 
28 imches square. 
goo: 


54—GOLD-EMBROIDERED BLUE VELVET COVER 
Italian Renaissance 
Enriched with four circular floral medallions interrupted by scrollings of 
Gothic leafage. 
Length, 69 inches; width, 81% inches. 


)70- 
55—GOLD-EMBROIDERED VELVET BAG [Italian Seventeenth Century 
Lustrous flame red velvet; enriched in raised threads of gold with irregular 
scrolled borders bearing panels of pomegranates and floral motives. Trimmed 


with gold galloon. Length, 16 inches; width, 5 inches. 


g0. 56—GOLD-EMBROIDERED VELVET BOX Italian Renaissance 


Oblong. Covered in rich crimson velvet skilfully embroidered in gold threads 
with facing birds, lotus blossoms and scrollings. 


2 


Height, 614 inches; length, 18 inches. 


oO. 
he 57—GOLD-EMBROIDERED BLUE SILK COVER 
Persian Seventeenth Century 


Ciel-blue silk; enriched with dainty scrollings of flowers in mellow-toned silks; 
ground with many gold paillettes. Trimmed with multicolored silk fringe. 


Length, 24 inches; width, 21 inches. 
oie etnias 


ie 
hg 58—TWO RAISED GOLD-EMBROIDERED VELVET CUSHIONS 


Italian Seventeenth Century 


Oblong. One with beribboned wreath of flowers; other with two lions sup- 
porting a coronet canopying an inscription. Deep wine-red velvet. 


Ie Length, 191% inches. 
bei , 


9—GOLD-EMBROIDERED IVORY SATIN CUSHION 
French Eighteenth Century 
Oblong, with pocket near crown. Enriched with oval center medallion 


initialed H. B. U., scrolled medallion border and tulips, wheat and sunflowers 
in lower corners. ‘Trimmed with gold fringe. 


J 60—GOLD-EMBROIDERED IVORY SATIN CUSHION 
French Eighteenth Century 
Oblong. Daintily enriched in gold thread and paillettes with oval wreathed 
monogram B. S. S., tulip and ribbon border and corners. Trimmed with 
gold fringe and tassels. Above the monogram is pocket for book or sewing. 


Pe ae 


0. 
ao 61—TWO RENAISSANCE TAPESTRY CUSHIONS 
Flemish Seventeenth Century 


Square, one woven with fruit and flowers; other with varied clustered fruits. 
Executed in rich crimson, blue, greens and yellows. Trimmed with multi- 
colored fringe. 


Les 
i j 0 ; / 30° 
62—TWO RENAISSANCE TAPESTRY CUSHIONS 
Flemish Seventeenth Century 


Similar to the preceding. 


$—GOLD-EMBROIDERED LAVENDER DAMASK CHALICE 


COVER Italian Eighteenth Century 


Square, with four-lobed medallion; enriched with scrollings of dainty flowers 


and central motive of a pierced heart. 
1114 inches square. 


7°: 64 SET OF BROCADE ARMCHAIR COVERS Louis Philippe Period 


Consisting of six oval backs, six large seats and twelve arms. Rich crimson 
satin ground, woven with scrolled conventionalized bouquets of fruit and 
flowers in green, deep crimson and ivory. 


7 &: 65—TWO PRELATES’ COATS-OF-ARMS Italian Seventeenth Century 


Scrolled escutcheon in cloth-of-gold bearmg five mounts and tree. Mantled 
with a tasseled green cardinal’s hat. One on old-red velvet. 


p74? S6=—TWO GOLD-EMBROIDERED PAPAL COATS-OF-ARMS 
Itahan Seventeenth Century 


Crimson velvet escutcheon, bearing three mounts and stellate device above. 
Richly scrolled in highly modeled gold threads. Surmounted by a papal tiara 
and crossed keys. One on old-red velvet. 


uti BLUE BROCADE MANIPLE Louis XVI Period 


Enriched with bouquets of flowers in soft pinks and crosses of silver galloon. 


JO 68—GOTHIC GOLD CISELE VELVET STOLE 
Italian Sixteenth Century 


Ruby-crimson velvet, enriched with floral motives on gold grounds. Finished 
with blue silk edge and fringe. 


/°: 6>—TWO EMBROIDERED CHALICE COVERS 
Italian Eighteenth Century 


Ivory silk, enriched in gold threads and colored silks with floral scrollings. 


9 inches square. 


i 


LS. 
70—GOLD-EMBROIDERED MISSAL COVER 


French Eighteenth Century 
Rose-du-Barry silk. Enriched with symbolic cartouches, surrounded by: 
scrollings in gold threads; one surmounted by a coronet, the other by a car- 
dinal’s hat. Beautiful floral scroll border in gold. 


Length, 12 inches; width, 9% inches. 


Zo. 71—GOLD-EMBROIDERED CRIMSON SILK CHALICE COVER 
Louis XVI Period 


Deep rose-crimson silk; enriched with medallioned sacred monogram in the 
center, emitting bouquet of loose flowers. Similar borders and corners. 


26 inches square. 


40. 72—SILVER AND GOLD EMBROIDERED CHALICE COVER 
Louis XIV’ Period 
Rose-crimson silk; enriched with small medallioned sunburst; floral corners 


and finely lambrequined and scrolled border in solid threads. ‘Trimmed with 


gold embroidery simulating galloon. 
20 mches square. 


20, 73—JEWELED GOLD-EMBROIDERED WAFER HOLDER 
Italian Seventeenth Century 


Ivory satin. Enriched with jeweled floral medallion and corners in dainty col- 
ored threads and gold. Trimmed with silver galloon and silk tassels. 


LF 74—GOLD AND SILVER EMBROIDERED WAFER HOLDER 
Italian Sixteenth Century 


Crimson satin. Finely wrought in raised gold threads with central mono- 
grammed rondel; finished with two varied borders of Gothic leaf scrollings. 
Trimmed with tassels. 


¥0. %75—GOLD AND SILVER EMBROIDERED MISSAL COVER 
Italian Seventeenth Century 


Pale blue watered silk. Enriched with jardiniére of tulips and other flowers. 
Executed in solid threads of silver and gold. ‘Trimmed with galloon. 


Length, 12 inches; width, 81% iches. 


40. 


40. 


76—GOLD-EMBROIDERED IVORY SILK CHALICE COVER 
Italian Sixteenth Century 


Square. Enriched with rayed Greek cross, surrounded by dainty scrollings of 
flowers in colored silks. Trimmed with gold galloon. 
11 inches square. 


. 77—GOLD-EMBROIDERED CHALICE COVER 


Italian Seventeenth Century 


Plum-purple silk. Enriched with lobed medallion in gold threads, displaying 
pierced heart amid scrollings. Trimmed with gold galloon and tassels. 


783—GOLD-EMBROIDERED CHALICK COVER 
Italian Seventeenth Century 


Silver thread ground; displaying a cruciform motive and fleurs-de-lis in raised 
gold and blue silk. Dainty infloretted waving gold ribbon border. 


79—GOLD-EMBROIDERED CHALICE COVER 


Italian Seventeenth Century 
Similar to the preceding. 


80—GOLD-EMBROIDERED SILVER LACE CHALICE VEIL 
Spanish Highteenth Century 
Square. Enriched in varied stitches of gold threads and colored silks with 


cartouched monstrance, sacred monogram A.M, gold scrollings and sprays of 


flowers. 
22 inches square. 


81—GOLD-EMBROIDERED IVORY SATIN PENCE BAG 
Italian Seventeenth Century 


Circular. Enriched, in colored silks, with large central flower emitting sprays 
and smaller blossoms. 


82—GOLD-EMBROIDERED VELVET PANEL 
Italian Siateenth Century 
Flame ruby velvet. Enriched with two cardinals’ coats-of-arms interrupted 


with scrollings and surmounted with sacred monograms, I.H.S. and AM. 
Finished with Gothic scrolled border in which interesting passages of blue silk 


occur. 
Length, 25 inches; width, 22 inches. 
Hsp (Covet 2 BIS. 
SILLS te Coe eee ee 


~ RCO ee oO 
: : as Ot a ae ae 


noe 


GOLD AND SILVER EMBROIDERED SAPPHIRE-BLUE 
VELVET CAPE Spanish Highteenth Century 


83 


Semicircular. Lustrous deep sapphire-blue velvet; richly bordered in raised 
gold and silver with intricate conventionalized scrollings, finished with double 
displayed eagles at center of crown and foot. 

Length, 45 inches; depth, 28 inches. 


om 
uy 84—_ GOLD NEEDLE-PAINTED ORPHREY Italian Renaissance 


Rose-crimson velvet. Enriched with two oval medallions occupied by figures 
of Saints Lorenz and Christopher, standing in landscapes; finely executed in 
colored silks and gold threads. Interrupted by acanthus-leaf scrollings in ap- 


pliqueé silks. Length, 48 inches; width, 10 inches. 


(0°35, GOLD NEEDLE-PAINTED PANEL Italian Renaissance 
Seated figure, wearing bishop’s mitre. Within a scrolled crimson silk oval. 


Height, 17% inches; width, 14 inches. 


3 36 GOLD-EMBROIDERED BONNET Italian Seventeenth Century 


Ivory satin. Enriched with scrollings of varied flowers in colored silks and 
gold threads. Trimmed with gold lace. 


Ds 
f4 87—GOLD-EMBROIDERED SAPPHIRE-BLUE VELVET DRESS 
Spanish Seventeenth Century 


Lustrous, fine-piled sapphire velvet, with rich paler gemlike areas. Embroid- 
ered in raised gold threads with border at foot, displaying scrollings and re- 
versed cornucopias of dainty flowers. 


Approximate length, 3 yards 2 inches; depth, 1 yard 14 inches. 

0. 
88—GOLD-EMBROIDERED SAPPHIRE-BLUE CAPE 

Spanish Highteenth Century 


Semicircular, with small collar. Lustrous fluctuating sapphire-blue velvet. 
Enriched with scrollings and panels in gold and silver, emitting sprays of 
tulips in colored silks. ‘Trimmed with silver lace. 
Length, 25 inches; depth, 16 inches. 
a geteg.s 
89—TWO GOLD-EMBROIDERED CRIMSON VELVET PANELS 


Italian Renaissance 


po 


Ruby velvet of close pile and lustrous quality; embroidered in gold and sil- 
ver with scrolled Gothic leafage. Trimmed with gold embroidery simulating 


galloon. Length, 8 inches; width, 21 inches. 


gow” 


rye 90—TWO GOLD-EMBROIDERED CRIMSON VELVET PANELS 


Similar to the preceding. 


cake 


91I—TWO GOLD-EMBROIDERED VELVET BANNERS 
ie Spanish Seventeenth Century 
Flame-rose velvet; enriched with appliqué cloth-of-gold displaying scroll-pan- 
eled bouquet of flowers. Trimmed with silver galloon and deep gold fringe. 


Height, 29 inches; width, 22 mches. 


2—GOLD-EMBROIDERED OLD-ROSE SILK COVER 
ok Italian Seventeenth Century 


Fluctuating old-rose silk; enriched in raised solid gold stitches, displaying 
palm and floral scrolled center, ends and scrolled leaf and vine border. 
Trimmed on three sides with lattice fringe. 


Length, 44 inches; width, 16 inches. 


70° 
is 93—CRIMSON CISELE VELVET PANEL Venetian Gothic 


Heavy close piled flame-rose velvet; ciselé with delicate lobes surmounted and 


enclosing pineapple motives. ; 
& I PI Height, 50 inches; width, 30 inches. 


ae ertete GOLD-EMBROIDERED IVORY SILK COVERS 
Louis XV’ Period 


Deep ivory silk, enriched in colored silks and gold threads with floral and 
pineapple motives interrupted at foot with a coronetted coat-of-arms. 
Trimmed with deep wave and fan patterned gold lace. 


oe Y Length, 61 inches; width, 14 inches. 
we) 


Done 95—FIVE GENOESE CUT-VELVET COVERS Sivteenth Century 


Rich flame-rose, cut and uncut velvet; displaying scrolled bouquet of beau- 
tiful flowers on a golden yellow ground. Rosette and scrolled ribbon border. 


Length, 31 inches; width, 27 inches. 


5. 3 
b‘96GOLD-EMBROIDERED CRIMSON SILK COVER 
Italian Sixteenth Century 


Rich rose-crimson satin; adorned with gold sunburst center surrounded by an 
entwined wreath of varied dainty flowers in colored silk; similar scrolled cor- 
ners. ‘Trimmed with fine crimson and gold Vandyke lace. 


Length, 35 inches; width, 34 inches. 


a Le 
St oN CUT-VELVET COVER Genoese Seventeenth Century 


Richly cut crimson on golden-yellow silk ground, displaying elaborated 
scrollings of leafage with pendent flowers. ‘Trimmed with gold galloon. 


Length, 41 inches; width, 25 inches, 


Lut- 
98—GOLD AND SILVER EMBROIDERED IVORY ~ SILK 
PANEL French Seventeenth Century 


Corded ivory silk; lavishly enriched with monstrance surrounded by rare 
scrollings of pailletted silver and gold threads emitting sprays of varied flow- 
ers in colored silk. Trimmed with silver lace. 


Height, 40 inches; width, 30 inches. 


aod 99—EKIGHT LENGTHS ROSE-RED VELVET 
Italian Seventeenth Century 


Heavy pile; lustrous rose-red velvet, with very radiant flame-like areas. 


Approximately, 35 yards; width, 19 inches. 


Ce 100—FIVE LENGTHS OF CRIMSON DAMASK 


c Italian Sixteenth Century 


Rose-red two-toned silk; woven with infloretted vase-like and canopying acan- 
thus leaves alternately supporting and sheltering large pomegranate motives 
and bouquets of flowers. 

Approximate length, 36 yards; width, 20 inches. 


101—TWELVE LENGTHS OF CRIMSON BROCATELLE 
,, 60 We Italian Sixteenth Century 
/ 


Two-toned rose-crimson; woven with deeply scrolled ogivals alternately occu- 
pied by rare vases of infloretted flowers and large bouquets of similar flowers. 


Hixtra wide weaving. Approximately, 92 yards; width, 30 inches. 


j/9- 102—FOUR LENGTHS OF CRIMSON BROCATELLE 
Italian Sixteenth Century 


Two-toned rose crimson silk; woven with acanthus-leaf ogivals enclosing 


lotus-like bouquets. 
Approawimate length, 1444 yards; width, 1914 inches. 


/1083—EMBROIDERED RED LINEN COVER 
ce Spanish Siateenth Century 


Rare old-red linen; embroidered in soft blue, yellow, pink and green silks. 
with blossomed diapered trellis occupied by quaint jardinieres of flowers, in- 
terior border displaying black double-displayed eagles interrupting vases on 
which facing birds are perched. Double diamond and rosette motived outer 
border. Trimmed with multicolored fringe. 


Length, 105 inches; width, 92 inches. 


6.6 104A—EMBROIDERED CRIMSON VELVET COVER 
Spanish Sixteenth Century 


Rich flame rose velvet; adorned with all-over S-scrolling enclosing floriated 
cruciform motives in appliqué yellow, green and blue silks with passages of 


LE Ss Length, 47 inches; width, 18 inches. 


ne 105—ROSE-RED CUT-VELVET PANEL Genoese Seventeenth Century 


Lustrous soft pile; displaying jardiniére of fruit surmounted by a large bou- 


quet of conventionalized flowers. Height, 52 inches; width, 22 mches. 


Ife 
ve 106—GOLD AND SILVER EMBROIDERED VELVET COVER 
\ Persian Seventeenth Century 


Ruby-crimson velvet; embroidered in gold and silver threads with passages of 
blue, coral and green; displaying an inscribed central medallion surrounded 
by floral sprays. Similar scroll border and guards. Trimmed with multi- 


colored fringe. Length, 58 inches; width, 39 inches. 


a 
\7" 107—-GOLD-EMBROIDERED IVORY SATIN COVER 
Italian Seventeenth Century 


Circular. Skilfully embroidered in rich harmonious colored silks with golden 
medallion enclosing a bowknotted cruciform bouquet of lovely flowers. Sur- 
rounded by two broad borders of similar scrolled flowers, parted by rope 


motived gold bands. Diameter. 7 aeeeee 


(tos ROSE-CRIMSON BROCADE COVER Lows XVI Period 


Damassé ground; woven in rich colors with tasseled and ribboned bouquets 
of flowers. Shaped oblong. ‘Trimmed with gold galloon. 


Length, 53 inches; width, 21 inches. 


. a ; 
109—GOLD AND SILVER EMBROIDERED VELVET COVER 
Persian Sixteenth Century 


pe? 


Deep wine-red velvet; ruglike motives, displaying scrolled diamond medal- 
lion of silver scrolled with all-over lotus blossoms with perched birds, in gold 
touched with passages of blue and pink. Rosette and scroll border; executed 
in similar manner. ‘Trimmed with multicolored fringe. 


Length, 42 inches; width, 34 inches. 


y 0° “110—CRIMSON DAMASK HANGING Italian Sixteenth Century 
Composed of eight breadths. Woven with deeply scrolled acanthus-leaf ogi- 


vals occupied by highly conventionalized bouquets of flowers. 


Length, 6 yards; depth, 1 yard 10 inches. 


a 
6° 111—GOLD AND IVORY BROCADE COVER 
. French Eighteenth Century 


Ivory ground; damassé with trailing ribbons, interlaced with sprays of flow- 


ers in colored silks. Trimmed with gold lace. 


Length, 42 inches; width, 23 inches. 


ce 
Bel? 112—GOLD-EMBROIDERED CRIMSON VELVET COVER 


Spanish Renaissance 


Lustrous rose-crimson velvet of fine radiance; enriched in appliqué golden 
drap @or and patterned galloon with large-rayed cruciform motive and scroll- 
ing floral and husk border. ‘Trimmed with gold galloon and fringe. 


Length, 106 inches; width, 99 inches. 
bo A 
1183—GENOESE CUT-VELVET LAMBREQUIN Sixteenth Century 


Rose-crimson, cut and uncut velvet; displaying scrolled flowers on a soft 
yellow silk ground. Trimmed with crimson lattice fringe. 


Length, 56 inches; depth, 22 inches. 


eae 
7 114—ROSE-CRIMSON DAMASK COVERLET 
Italian Sixteenth Century 


Lustrous two-toned silk; woven with elaborate harp-shaped motives of husks 
and leaves enclosing jardiniéres of tulips. Deep box flounce, trimmed with 
edging and crimson fringe. 


Total length, 105 inches; width, 100 inches; depth of flounce, 14 inches. 


p-15—GOLD AND SILVER EMBROIDERED VELVET BORDER 
Italian Sixteenth Century 


Rose-crimson velvet, with scrolled Vandyke points. Enriched with leaf 
scrollings and sprays of conventionalized pineapples and husks in heavily 


raised threads of silver and gold. 
Length, 67 inches; width, 41% inches. 


116—GOLD-EMBROIDERED CRIMSON VELVET LAMBREQUIN 
/4 0 - Spanish Renaissance 
Seven Vandyke points. Rich flame-crimson ciselé velvet. Enriched in ap- 
pliqué yellow cloth-of-gold with highly conventionalized bouquets of flowers. 
Trimmed with gold galloon and deep fringe. 


Length, 126 inches; depth, 28 inches. 


9 °'117—ROSE-CRIMSON VELVET LAMBREQUIN Gothic Period 


Seven Vandyke points; rare rose-crimson velvet with charming paler areas. 
Enriched in gold galloon of the period with scrollings terminating in fleur-de 
lis motives and border. Trimmed with deep gold thread fringe. 


d 


Length, 142 inches; depth, 23 inches. 


4 4 0 ~ 118—FOUR DRAP D’ ARGENT VELVET LAMBREQUINS 
Genoese Seventeenth Century 
Scalloped at foot. Rose-crimson cut and uncut velvet, displaying bouquets 
of fine flowers on a cloth-of-silver ground. 


Respective sizes: Lengths, of two, 84 inches, (others) 60 inches and 72 


inches; depth, 24 inches. 


gut 19—TWO ROSE AND YELLOW BROCATELLE PORTIERES 
Italian Siwteenth Century 


Soft old-rose. Displaying rare infloretted bouquets of flowers amid scroll- 
ings. J inished at crown with scallop lambrequin. Trimmed with gold fringe. 


Length, 3% yards; width, 1 yard 6 inches. 


55 - 120—TWO CRIMSON DAMASK PORTIERES 


Italian Renaissance Style 
Ilame-red, two-toned silk. Woven with large highly conventionalized bou- 


quets of varied flowers. 
Length, 2 yards 15 inches; width, 22 inches. 


121—REPOUSSE SILVER VASE By Tiffany 


ae 

ike Inverted pear-shape, with incurved neck and spreading stellate dome foot. 
Enriched on shoulder and neck with series of the backs of shrimps having 
enameled scales; lower portion with scrolling arabesques. 


Height, 6 inches. 


122—TWO REPOUSSE SILVER VASES By Tiffany 


Ee: pe LHlongated inverted pear-shape, with short incurved mouth and scroll-waved 
“A round foot. One enriched with closely placed snails naturalistically wrought; 

the other with tortoises similarly placed. 
Height, 10%@ inches. 


ITALIAN AND OTHER BRONZES OF THE SEVENTEENTH AND 
EIGHTEENTH CENTURIES 


Fs 129—TWO JEWELED GILDED FIGURINES Renaissance Style 
“Robed Prophet.” With band of turquoise jewels around neck. 

Height, 5 inches. 

35 130—BRONZE FIGURINE Egyptian Second Century B.C. 


Quaint standing figure of a man, wearing long fool’s cap. 
Height, 514, inches. 


131—PAIR OF GILT BRONZE “CUPIDS” 


oes One is winged and has the left raised and carries a quiver case. The other, 
masquerading as Mercury, wears a petasus and holds a scroll in his right 

“< hand. Each is seated on an ebony plinth. 
Height, each, 44% inches. 


132—BRONZE ORNAMENT OR PAPERWEIGHT 


ae Full-length figure of Eros, seated on the drapery of his pillowed couch, from 


which he has just risen. Soft patina. 
Length, 6 inches. 


133—PAIR BRONZE CLASSICAL BUSTS 


0. 
2d 4 x” Soft blackish patina. Mounted on marble pedestals. 
Height, complete, 9 inches. 


134— LEIGH TEENTH CENTURY ITALIAN BRONZE STATUETTE 


A paper weight modeled after the famous statue of the “Dying Gladiator” 


49 : in Rome. On a white marble base. 
Height, 4 inches. 


185—SMALL ANTIQUE BRONZE BOWL 


a The body, fluted and supported by three griffins couchant. (Feet of one in- 
lo jured. ) 


Diameter, 4 inches. 


1386—FOUR GILDED BRONZE EWERS Italian Eighteenth Century 
Sue : 5° Triangular, spirally fluted. Enriched with leaf motives and open scrolls. 


Height, 334 inches. 


137—PAIR OF EIGHTEENTH CENTURY ITALIAN BRONZE 
90 : a FIGURES OF WINGED GREYHOUNDS 


Standing on their hind legs; their front paws supported on tree trunks. 
Height, 8% inches. 


1388—TWO GILDED BRONZE STATUETTES 


40 


or Italian Seventeenth Century 
“Angels.” Kneeling figures voluminously robed. On oblong bases. 
Height, 4 inches. 
§.189—TWO BRONZE STATUETTES Italian Renaissance 
BG yv*Sphinxes.” Conventional winged, standing figure. Deep, brown-black 
1 patina. 
Length, 4 inches. 
£°40—BRONZE BUST Greco-Roman 
(1: “Venus.” Wearing hair confined by a fillet and low-cut robe. Rich green 
patina. 


Height, 414 inches. 


141—ITALIAN EIGHTEENTH CENTURY GILT BRONZE GROUP: 
20 “THREE ANGEL HEADS” 


One placed higher than and between the other two. The wings extended. 
The motif is clearly derived from Raphael’s “Sistine Madonna.” On a red 


velvet mount. Width, 7 inches. 


142—BRONZE HEAD OF BACCHUS By Apollon 
Oectkt A youthful Bacchus wearing a chaplet of gilded vine leaves in his hair. Dull 
greenish patina. Signed, “A. Apolloni. Roma.” On round rosso-antico 


marble pedestal with square black base. 
Height, 10 inches. 


143—ITALIAN EIGHTEENTH CENTURY BRONZE HEAD OF A 
CHERUB 
BD, 


With curly hair and outspread wings. Clearly derived, but not copied, from 
Raphael. On a red velvet mount. 


Height, 61% inches. 


144—TWO GILDED BRONZE FIGURINES Directoire Period 


. Graceful lightly draped figure of nymph wearing a garland of roses on her 
for brow; finished in golden-green bronze and seated on gilded rustic tree stump. 
On statuary marble circular molded base, with bronze moldings and feet. 


oe 


Height, 11%4 inches. 


145—PAIR OLD BRONZE CANDLESTICKS 


Be Spindle standards entwined by vines chiseled in low relief on a stippled 
34" ‘ground, and surmounted by three goats’ heads and bunches of grapes in high 
relief, the whole supported by ramping lions holding in their claws ball feet. 


Height, 12 inches. 


146—BRONZE AND STEEL COFFRET Flemish Seventeenth Century 


3°' Oblong, with arched, hinged cover. Enriched with all-over open leaf scroll- 
ings and strap arabesques. On ball feet. 
Height, 5 inches; length, 6% inches. 


147—ITALIAN BRONZE STATUETTE 


TEP Figure of a mermaid with bifurcated tail, a chaplet of ivy leaves in her hair, 
which streams in the wind as she rides across the waves. Deep rich brown 
back patina. ‘The waves represented by modeled composition in ivory. 


Total height, 121% inches. 


- 148—GILDED BRONZE STATUETTE French Eighteenth Century 
“Cupidon.” Seated, declaiming; broadly chiseled. Very fine patina. 


pe) 


Height, 1234 inches. 


149—TWO GILT BRONZE FIGURES OF ANGELS 


/ YO, The Angels are winged. One looks upward, the other downward. Each is 
7 62.enveloped in a flowing drapery. Placed on a red velvet easel. 


Height, 10 inches. 


150—BRONZE FIGURE Directoire Period 


“Stork and Serpent.” A serpent is coiled round the leg of a stork that stands 
on the back of a tortoise. On square block marble base. 


Height, 9 inches, 


151—EIGHTEENTH CENTURY ITALIAN BRONZE DOOR 
KNOCKER 


0 
34°. The head of a Satyr grasping from behind the horns of a bull. The hind 
quarters of the Satyr terminate in acanthus leaves. Placed on a red velvet 
mount. 
Height, 10 inches. 
0 F 3 Dik Lo 


? 152—PAIR OF OLD ITALIAN GILT BRONZE “CENTAURS” 


The male holds Pan pipes to his mouth. The female has cymbals in her ex- 
tended hands. On an oval Siena marble base. 


Height of each figure, 8 inches. 


Height of each base, 14% inches; width, 10 inches. 


a 


i.) ae ae 


93° 153-KIGHTEENTH CENTURY ITALIAN BRONZE PLAQUE, OR 
PANEL: “A BANQUET OF THE GODS” 


Around a table, on which are seen plates with various fishes, are seated the 
principal Divinities of Olympia. In the center are seen Diana and Apollo; 
at the left are Pluto, a Nereid and Neptunus, and at the right, Mercury, 
Mars and Venus. The personage seated in front, whom Apollo points out to 
Jupiter, seen in the clouds with his eagle, is unidentified. From the far dis- 
tance, at the left, advance two personages in long robes, while Jupiter de- 
scends from the clouds. On a red velvet mount. 


154—PAIR SILVER AND GILT WALL PLAQUES 


vy Medallions of Joseph and Mary at half-length, surrounded by cherubim. 
41 ale Length, 10 inches. 


155—ITALIAN BRONZE MORTAR 


- With tapering sides, each of which is ornamented with an escutcheon flanked 
ee by ribbons; one, charged with an emblematic device of a Cross placed above 
three cime and the other uncharged. Loop handles, formed of acanthus leaves. 

The rim and base decorated with classical designs. 


Height, 7 inches; diameter at neck, 84% inches. 


156—BRONZE STATUETTE 


49 : Standing figure of Caesar, in chiseled armor, right hand upraised, gripping 
his sword. Blackish patina. On oval gray marble base. 
Height, 10% inches. 


157—BRONZE STATUETTE 


0: Full-length figure of a female standard bearer. Poised on her right foot, 


she holds in her extended hands an unfurled banner. 
Height, 11% wmches. 


158—PAIR OF ITALIAN BRONZE ANGELS 


q es Winged and wearing a gilt drapery, full length, and on a plinth covered 


Be ol Greet 
with red velvet. Height, 11 inches; plinth, 4 inches. 


159—GILDED BRONZE FRAME Italian Renaissance 
yp ; Molded oval frame. Enriched with heads of amorini at quarters, interrupted 
by leaf-scrolled apertures for miniatures. Shell motive for suspension. 


Height, 914 imches. 


4 160—CHINESE BRONZE CENSER Ming Period 


Oblong, with flanged covers, upright lug handles; similarly flanged canted 
dome cover having square apertured terminal. Enriched with archaic ani- 
malistic scrollings. Black patina. On high round legs and carved stand. 


Height, 65 inches. 


190. 


161—CHINESE CLOISONNE VASE Ming Period 


162— 


Square bottle-shape; enriched on turquoise-blue grounds with bandings of 
cloud scrolls interrupting scrolling floral panels, leaf motives and “Show” 
marks. Rudimentary appliqué T’ao-t’ieh ogre-head and ring handles. 
Mounted in cuivre doré with gadroon and ribbon moldings at crown, egg and 
dart moldings at foot with chimeric dragons as feet. 


ITALIAN CUIVRE DORE STRIKING TABLE CLOCK 
Seventeenth Century 


Rectangular, enriched with rare strap arabesque scrollings, fruit and satyr 
masks. Supported by caryatids at corners and harpies at foot. Pierced dome 
cover similarly adorned to body, with scrolled harpies at corners; surmounted 
by figure of a warrior. Two extra engraved dials. 

Height, 121% inches. 


163—CHISELED CUIVRE DORE TABLE CLOCK [Italian Renaissance 


5/ Oo. 


Architectural Temple form. Rectangular, with scrolled openwork dome , 
having sphinxes at four corners and surmounting figure of a youthful warrior. 
Supported on demi-nymphs and enriched Ionic pilasters. ‘The panels adorned 
with masks and finely arabesqued floral scrollings; engraved steel dial. 
Spreading molded base broken round pilasters and there resting on the backs 
of four sphinxes. 

Height, 121% inches. 


164—PAIR OF ANTIQUE BRONZE STATUETTES OF “VENUS” 


Each is standing and leaning forward. One, with a tall amphora at her right 
<0. side, holds a drapery in her right hand. The other is attaching the sandal on 
“her left foot; a dolphin encircles the fountain at her left side. 


ae 
Height, ‘7 inches. 


165—PAIR FLORENTINE GILT BRONZE ANIMAL STATU- 
ee ETTES 
$ ie Lions seated on their haunches, and guarding shields each with a different 
device. 
Height, 8% inches. 


166—TWO BRONZE FIGURINES Italian Eighteenth Century 


joo. 


ree 


“Apollo and Daphne.” Apollo standing with body swaying somewhat in 
lassitude after his discomfiture in his race with Daphne; his mantle has not 
been resumed, one end being gathered in left hand, the other thrown over 
shoulder; behind him partially seen is a symbolic stump of laurel tree. 
Daphne swaying, but with different emotion to Apollo, for she hesitates to 
cast aside her robes in order to be unfettered in her escape from her unwel- 
come lover, Apollo. Her long hair, so often referred to in her race, falls over 
one shoulder to her breast. Original rich black patina, with gray-yellows on 


high lights. 
Heights, 13% inches and 13 inches. 


» 


167—TWO ANTIQUE BRONZE STATUETTES 


y On Venus, standing nude, with right leg advanced and her left arm raised. 
y) 


0 Me Hercules, his left leg advanced. With both his hands he holds his club under 
Me his left arm. Standing nude. On ebonized plinth. 


Height of statuettes, each, 10 inches. 


168—TWO BRONZE CANDLESTICKS Italian Renaissance 

go t Balustered shaft, with urn-shaped socket. Enriched at crown with three 
) yamorini heads above gadroonings and lobed oval medallions, below center 
\4 with three seated putti and scroll-bracketed masks. On open scrolled and 


festooned tripod base having seated demi-putti over the arched feet. 


Height, 12 inches. 
(Illustrated) 


169—EIGHTEENTH CENTURY ITALIAN BRONZE _ BUST: 
“JULIUS CAESAR” 


PQ * In classical tunic with a drapery fastened with a brooch on the right shoul- 
der. The head turned slightly toward the left; the face wears an earnest 
expression. He is crowned with a laurel wreath. Name inscribed below the 
bust. Placed on a hollow mottled red porphyry and yellow Siena marble 
pedestal. 

Height of bust, 121% inches; of base, 9 inches. 


This bust was made after a sixteenth century model. There are many of them 


extant from this period. Among them there are those by Alessandro Vittoria in Venice, 
by Ludovico Lombardi in the Lichtenstein Gallery in Vienna, etc. 


(Illustrated) 


(Aanjuay yzueaqybry uvyv7y) UVSAVO AO LSAT AZNOUA—69L ‘ON 
(20unssipuay wnryrIT) SHOLLSHAIGNVO AZNOUM OML—89L ON 


170—ANTIQUE ITALIAN BRONZE STATUETTE 


Go ‘ An Amazon, in close-fitting dress and feminalia. Holding a spear, the butt 
end of which rests on a helmet that lies on the ground. On a carved and gilt 


base of later period. 
Height, 101% inches; of base, 3% inches. 


171—SIXTEENTH CENTURY ITALIAN BRONZE EWER 


0° ‘ Grooved neck and stem, and grooved and curved handles which terminate in 
a mask. On the front a spout formed of the upper part of a winged, fan- 


tastic creature. 
Height, 15 inches. 


From the Bardini Sale, 1918. 


72—PAIR OF ITALIAN BRONZE FIGURES 


The male figure stands erect, his right hand on his hip; his mantle falls from 
the left shoulder on to the left forearm. A tree-trunk by his right side. The 
female figure, in great part draped and gathering up the drapery in her left 
hand; her right hand is across her breast. 

Heights, 1314 and 1234 inches. 


"173 -ANTIQUE BRONZE ALTAR CANDLESTICK 


Slender in form and on a curved tripod base; provided with an urn cup and 
a saucer. Wired for electricity. 


Height, 4 feet 10 inches. 


174—PAIR OF ANTIQUE BRONZE HALF-FIGURE STATU- 
[0 yw ETTES OF CUPIDS 


Their hands raised above their heads. 
Height, 18% inches. 


Dep 5 


= 


49, 


SECOND AFTERNOON'S SALE 


THURSDAY, APRIL 5, 1923 
IN THE ASSEMBLY HALL 


OF 


THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


CATALOGUE NUMBERS 191 TO 343, INCLUSIVE 


BEAUTIFUL SAXE AND SEVRES PORCELAIN OF THE 
EIGHTEENTH CENTURY 


19I—DECORATED SAXE PORCELAIN BONBONNIERE 
Eighteenth Century 


“White Mouse.” Cover hinged at base; painted with cat and mouse; interior 
painted with flowers. Mark: crossed swords. 
Length, 244 inches. 
fb eo 
192—TWO SAXE PORCELAIN FIGURINES Eighteenth Century 


“Recumbent Lions.” Heads toward the ground, anticipating the approach 


of an enemy. Fine broad modeling. Rich ivory-white glaze. 


Length, 2g inches. 


193—SEVRES BISQUE PORCELAIN GROUP _ Eighteenth Century 


“Leda and the Swan.” Lightly draped graceful figure standing before 
rushes and the swan. 


Height, 10 inches. 


. 


194—DECORATED SAXE PORCELAIN BONBONNIERE 
Eighteenth Century 


5 5. “Recumbent Dog with Suckling Puppy.” Hinged cover at foot, painted 


with scrollings. 
Length, 234 inches. 


195—DECORATED SAXE PORCELAIN GROUP Eighteenth Century 


0 “Three Cupidons Frolicking.” One stands at left, one reclines about center; 

t the other kneels at right, holding sprigs of ivy leaves. On rocaille scrolled 
rustic base. Mark, crossed swords in blue under base. 

Height, 35% inches. 


196—DECORATED HOCHST PORCELAIN FIGURINE 
0. Eighteenth Century 
3 “The Tired Strolling Player.” Seated asleep, her head fallen on her arm; 
she wears a garden hat and has a mandolin by her side. On irregular rustic 
base. Mark, blue wheel under glazed foot. 
Height, 4144 mches. 


197—TWO DECORATED CHELSEA PORCELAIN JARDINIERES 
AND TRAYS 


5° Flaring oblong body with blue, round laced bamboo corners and scrolled 
rustic handles. 'Tray with same contour as jardiniére. Finely enriched with 
birds and flowers and gilded blue borders. 

Height, 51% inches. 


198—TWO DECORATED SAXE PORCELAIN FIGURINES 
poses Eighteenth Century 


“Youth and Maiden.” Standing, attired in fancy costume. He wears a 
Persian turban, flowered pink robe, yellow mantle and high boots; she, a tur- 
baned cap and a long rose mantle over a florally brocaded yellow dress, and 
carries a flower in her right hand. On blossomed, domed-round ivory bases. 
(Turban and cap chipped.) 

Heights, 434 and 4 inches. 


199 FOUR SEVRES BISQUE PORCELAIN BUSTS 
Yb to Highteenth Century 


/ 6°. “The Seasons.” Spring, a young nymph with flowers in her hair; Summer, 
a nymph with wheat in her hair; Autumn, Bacchic youth with ivy; Winter, 
bearded old man with drapery over head and shoulders. Royal blue and 
gold square pedestals. Mark, two crossed L’s enclosing F; date 1758. 


Height, 47g inches. 


200—DECORATED SAXE PORCELAIN GROUP Eighteenth Century 


LO. “Cupidon and Psyche.” Little Psyche, seated, wears low-cut yellow bodice 
and flowered skirt and carries a garland of small flowers. Cupidon reclines 
on her lap making love to his erstwhile mistress. On gilded rocaille scrolled 


Height, 54g imches. 


-201I—TWO DECORATED PORCELAIN FIGURINES 
1 Tees Highteenth Century 


7 0. “Flora and Ceres.” Graceful standing figure of Flora bearing a basket of 
flowers under right arm and wearing pink and green mantle over ivory bro- 
cade robes. Ceres bearing sheaf of wheat over right shoulder, attired in green 
and pink robes; a spray of forget-me-nots in her left hand. On gilded 
square bases. Mark, scrolled X coronetted over a staff. 

Height, 51% inches. 


202—TWO SAXE PORCELAIN GROUPS Eighteenth Century 


“Swans with Cygnets.” Carefully modeled. Fine white glaze, with bills and 
Y ©. “feet painted black, pink and brown. On round rustic base. Mark, violet tri- 


angle under foot. (One wing restored.) 
Height, 5% inches. 


2083—TWO DECORATED PORCELAIN FIGURINES 
Eighteenth Century 


eae 
5°, “Autumn and Winter.” Autumn, a standing figure of a Bacchic youth, his 
left arm upraised crushing a bunch of grapes into a cup held in right hand 
and wearing a tiger skin round loins. Winter, a lean old bearded man, 
standing before a flaming urn and drawing a pink-lined green mantle round 
himself. On gilded square base. Mark, a coronetted and scrolled X with cen- 
tral staff. 

Heights, 64% and 5, inches. 


204—_DECORATED HOCHST PORCELAIN FIG- 
URINE Highteenth Century 


“The Perfume Vender.” Standing figure, attired in yel- 
low and blue dress. He carries a box in front, slung from 
the shoulders and cries his wares, holding one of the bottles 
aloft, pointing grandiosely to its quality. On green rustic 
base. Mark, blue wheel under foot. (Restored.) 


Height, 7% wmches. 


(Illustrated) 


205—TWO DECORATED SAXE PORCELAIN VASES, MOUNTED 
IN CUIVRE DORE Eighteenth Century 


yo Cylindrical, painted with sprays of flowers and winged insects. Supported 
yo: by two birds and floral wreath in relief, naturally colored. Mounted in 
+” cuivre doré with upright scrolled handles and scrolled base of leafage, blos- 


soms and rocaille motives. 
Height, 9 inches. 


206—DECORATED SAXE PORCELAIN GROUP LHighteenth Century 


ae “Alsatian Peasants Dancing.” An animated youth attired in green hat, lay- 
4 ender coat, yellow shorts and blue rosetted white stockings, wildly swirls his 
loving partner round in a country dance. She is costumed in a frilled blue 

low-cut bodice, flying white apron and brocaded skirt. On rustic base. (Re- 


stored. ) 
Height, 57g mches, 


5? ‘°207—-DECORATED HOCHST PORCELAIN GROUP 
Early Nineteenth Century 


“Boy with Dog.” Standing figure, attired in sprigged ivory coat, blue shorts 
and mottled gray hat, vigorously pulling dog’s tail; the dog seemingly enjoy- 
ing the fun. On irregular green rustic base. Modeled by Dahl. Mark, blue 
wheel and D under foot. 

Height, 61% inches. 


208—DECORATED HOCHST PORCELAIN 
FIGURINE Highteenth Century 


“The Naturalist Humboldt.” Standing figure of 

LS : man wearing gray coat, pale yellow shorts, black hat 
and shoes, showing a portfolio of drawings, which 
is open at a landscape view in which is a stag. On 
irregular round green rustic base. Mark, blue wheel 
under foot. (Restored. ) 


Height, 8 inches. 


(Illustrated) 


209—BISQUE PORCELAIN GROUP 
By Daumont; French Eighteenth Century : 
burr Busts of a garlanded and chapleted lover and his mistress, in fond embrace. 


On dove marble round pedestal, enriched with cuivre doré molding and chain 
festoons. Square base. 


Height, 9 inches. 


210—DECORATED FRANKENTHAL PORCELAIN GROUP 
Eighteenth Century 


" rs “Venus and Adonis.” Lightly draped figures, Venus with her left arm rest- 
Z ing on the huntsman’s shoulder and her right extended over his left, as if to 
dissuade him from his adventures. On guilloche motived round base. Mark, 

coronetted monogram T.C. 
Height, 91/4, inches. 


211—DECORATED SEVRES JARDINIERE Eighteenth Century 
E Oval, with beautiful turquoise grounds; gilded with scrolled valance and two 
ea oval medallions in reserve, painted with gay-plumaged birds in landscapes. 


Mounted in cuivre doré with gadrooned oval and square base; small lip. 
Loose metal lining. Mark, double L enclosing F. Date 1758. 


Length, 71, inches. 


We 


saat 


212-DECORATED SAXEK PORCELAIN GROUP 


Late Highteenth Century 


“A Matron and Family.” A young mother is seated in a scroll-back chair 
attired in lawn hood, low-cut brocaded ivory dress, tenderly holding her crying 
baby girl on her knee; the child wears a flowered black cap and sprigged yellow 
dress. A small elder sister sits on a stool at left trying to amuse her little 
sister, blowing a whistle; she is costumed in a white apron over a brocaded 
pink dress. (Slightly restored.) 

Height, 658 imches. 


2183—DECORATED SAXE PORCELAIN GROUP 


214—— 


Late Eighteenth Century 


“A Mock Marriage.” Cupidon, attired in ermined lavender cloak, is seated 
at right and officiates at the ceremony. A Court lady stands about center 
while a cavalier in green, lavender and yellow costume is kneeling before her. 
Diana appears behind the group. Scrolled cuivre doré base. Mark, crossed 


swords in blue. (Restored.) 
Height, 81% inches. 
(Illustrated) 


DECORATED CHELSEA PORCELAIN GROUP, MOUNTED 
IN CUIVRE DORE Eighteenth Century 


“The English Lovers.” Seated in intimate conversation, taking snuff. The 
beau, who wears ivory coat, blouse, black breeches and rosetted shoes, chucks 
his mistress under the chin. ‘The belle is attired in a Dolly Varden cap, flow- 
ered Watteau bodice and train over yellow panniers. Mounted in Louis XV 
style cuivre doré oval base of rocaille, leaf and strap scrollings forming feet 
at irregular intervals. (Restored.) 

Height, 634 inches. 

(Illustrated) 


(Companion to the following) 


215—DECORATED CHELSEA PORCELAIN GROUP, MOUNTED 


IN CUIVRE DORE Eighteenth Century 


“The Spanish Lovers.” A toreador, attired in white blouse, lavender coat 
and rosetted black shorts, sits at right embracing the mistress of his heart, 
who is costumed in a low-cut flowing ivory robe with a yellow brocaded man- 
tle loosely folded round her. Mounted with cuivre doré base similar to pre- 
ceding. (Foot restored.) 
Height, 7% mehes. 
(Illustrated) 


(Companion to the preceding) 


214 215 


No. 2183—DECORATED SAXE PORCELAIN GROUP 
(Late Eighteenth Century) 


Nos. 214-215—DECORATED CHELSEA PORCELAIN GROUPS, 
MOUNTED IN CUIVRE DORE (Eighteenth Century) 


216—DECORATED SAXE PORCELAIN GROUP 
. Late Eighteenth Century 
5 | “Mephisto and Marguerita.” The charming subject, wearing frilled low pink 
bodice and flowered ivory skirt, is seated on a bank; she holds a pierrette 
mask on her lap with her right hand and pulls at the false white beard of Me- 
phisto with her left hand. Mephisto at right, attired in red habit and long 
black cloak, bends over adoring her. On blossomed irregular oval base. 


Height, 61% inches; length, 6Yg inches. 


(Illustrated) 


ee 
4% 217—TWO DECORATED DERBY FIGURINES Eighteenth Century 


“She Stoops to Conquer.” Youth and maiden, declaiming as characters in 
6 Goldsmith’s briliant comedy. He is attired in deep rose coat, blue flowered 
YY vest and yellow shorts; she in pink flowered panniered skirt and deep rose 

bodice. On gilded scrolled round base. Mark, crowned D under foot. 


Heights, 7/4 and 67g inches. 


218—DECORATED SAXE PORCELAIN GROUP, MOUNTED IN 
CUIVRE DORE EHighteenth Century 
“Cupidon and Psyche.” Cupidon lightly draped in yellow brocade; Psyche 


with a red mantle, standing on a flower-strewn scrolled oval rocaille base. 
Mounted in cuivre doré with leaf-scrolled plinth. (Restored.) 


ee 


Height, 8°4 inches. 
# gl. 
an 
219—DECORATED SEVRES PORCELAIN DISH, MOUNTED IN 
CUIVRE DORE Eighteenth Century 


Oval. Rich turquoise-blue grounds, reserved with two oval cartels painted 
with pheasants in landscapes and enriched with gilded scrollings and lattice 
Jambrequin. Mounted in cwivre doré gadrooned lip and similar oval foot with 
oblong base. Mark, two L’s enclosing F; date 1758. 


Height, 4% inches; length, 74 inches. 


2200—TWO DECORATED SAXE PORCELAIN FIGURINES 
Highteenth Century 


“Shepherdesses from the Court.” Both are attired in flowered brocade cos- 
tumes; one has a lawn hood, the other a flat hat. ach standing before a tree 


dae trunk, a lamb nearby; on blossomed and scrolled rocaille base. Marcolini 


period. (One base restored.) 
Heights, 934 and 9 inches. 


221—TWO DECORATED SAXEK PORCELAIN FIGURINES, 
MOUNTED IN CUIVRE DORE Eighteenth Century 


“Little Lads Singing and Dancing.” Chinoiserie, wearing flowing pale yel- 

low robe, flowered mantle and green leaf hat. One with left, the other with 
5° right, red-shod foot raised. On rustic base. Mounted in cuivre doré with 
**~ molded round base scrolled with leafage and blossoms forming feet. 


Gb O- 


Height, 924 inches. 


222—TWO DECORATED SAXE GROUPS, MOUNTED IN CUIVRE 


DORE Eighteenth Century 

0 0 - ‘America and Africa.” In the first is a Cupidon carrying an orb and sceptre, 
K ; yr symbolic of the sovereignty of the world; nearby, an Indian lad wearing feath- 
po- ered head-dress and wampum belt, holding a parrot and seated on the back 


of an alligator. In the second, another Cupidon, who holds aloft a crescent 
moon and flambeau, is embracing a Numidian seated on a lion’s back, driving 
the animal by a bridle. The Numidian wears a tusked elephant’s mask on his 
head. Mounted in cwivre doré with molded round base having open panels 
enriched with laurel festoons pendent from four leaf trusses at quarters. 


(Restored. ) 
Heights, 124 and 1114 inches. 


(Illustrated) 


‘ 223—TWO PORCELAIN VASES, MOUNTED IN CUIVRE DORE 
fe Louis XVI Period 


: y Apple-green pear-shaped body, with high round molded base. Mounted in 
finely chiseled cuivre doré with leaf and pineappled cover, which reversed 
forms a candle socket, ivy garlanded looped handles, scrolled tripods termi- 
nating in hoof-feet, base with laurel wreath, pierced molding, lyre motives 
and button feet. Mark S.B. in monogram under foot in blue. 


Height, 101% inches. 


(Aanquay yruooy6rq) THOM AMAIND NI GULNAOW ‘sdNOUD AXVS CULVUOOTA OMI—Zez “ON 


224 DECORATED SEVRES PORCELAIN ECUELLE 


ee 


22 


y 


4 


5 


Eighteenth Century 


Low round cup, with double entwined and gilded ivory handles, dome cover, 
with gilded looped leaf-spray handles and large oval boat-shaped tray. En- 
riched on rich turquoise-green grounds with gilded scrolled valance and re- 
served cartels enclosing pastoral subjects of “Juveniles Playing and Rest- 
ing,” after Boucher by Chabry. 'The gilded valance and scrollings by Drand. 
Marks, double L’s enclosing X; date 1775; Ch and M6. 


Height, 51% inches; length, 8Vg inches. 


(Illustrated) 


—TWO TURQUOISE-GREEN SEVRES JARDINIERES, 


MOUNTED IN CUIVRE DORE 


Oval, with incurved scalloped flutings at lip, reserved gilded scrolled acan- 
thus-leaf handles and scroll gilded base. Deep turquoise-green grounds, re- 
served with cartels painted with African pheasants, quail, Cayenne penguins 
and heron; the small flanking cartels with butterflies. Mounted in Louis XV 
cuiure doré with open leaf and rocaille scrolled base having beautifully 
scrolled feet. Marks, impressed 14B on one; the other, crossed double L’s 
enclosing two E’s. Date 1780. 


Eighteenth Century 


Height, 7 inches; length, 115% inches. 


(Illustrated) 


225 225 


No. 224—DECORATED SEVRES PORCELAIN ECUELLE 
(Eighteenth Century) 


No. 225—TWO TURQUOISE-GREEN SEVRES JARDINIERES 
MOUNTED IN CUIVRE DORE (Eighteenth Century) 


226—DECORATED SEVRES PORCELAIN COVERED CENSER, 


MOUNTED IN CUIVRE DORE Eighteenth Century 
70: Oviform, with dome cover. Enriched on turquoise-blue grounds with two re- 
\? served oval cartels on body painted with “Lovers in Watteau Costumes,” rare 


flowers, gilded rocaille and acanthus-scrolled bandings. 'Two similarly painted 
kidney-shaped cartels on cover. Mounted in cuivre doré with lion-headed and 
tasseled ring handles, open fluted pedestaled base bound with laurel wreath 
and berries, arched feet, collar at lip and pineapple terminal. Mark, double 
L’s enclosing V. Date 1774. 


Heights, 1614 inches; width, 12 mches. 


(Illustrated) 


227—TWO SEVRES TURQUOISE-BLUE CACHE-POTS, MOUNTED 
IN CUIVRE DORE Eighteenth Century 


Dnt Deep bow]-shape, with gilded molded lip, foot and leaf-scrolled handies. En- 
q? riched with two reserved oval medallions finely painted with bouquets of rare 
flowers and fruit. Rich turquoise-blue grounds, with gilded wreaths to me- 
5 a dallions gracefully scrolled and festooned to and under handles. Mounted 
n> in cuivre doré with Louis XVI foot having pearl-motived and laurel garland 
guarding panels of pierced acanthus rinceaux; leaf and claw feet. Marks, 
Sevres, crossed double L’s, two K’s at right and Y at left in blue under glazed 

foot. Date 1788. Painter probably Xrowet. 


Total height, 6 inches. 


(Illustrated) 


226 


227 227 


No. 226—DECORATED SEVRES PORCELAIN COVERED CENSER 
MOUNTED IN CUIVRE DORE (Eighteenth Century) 


No. 227—TWO SEVRES TURQUOISE-BLUE CACHE-POTS 
MOUNTED IN CUIVRE DORE (Eighteenth Century) 


TOO; 


228 ROYAL BLUE SEVRES EWER AND BASIN 


e renee | French Eighteenth Centu 
Pear-shaped, with molded lobed foot, leaf-scrolled handle and lip. Enrich 
oe with two reserved oval medallions occupied by beautifully painted bou 
yf of rare varied flowers. Exquisite royal blue grounds, adorned with oak 


Sevres Crossed double Ls enclosing D.D. and lugged dinponale “ie 
-tese cross under, in blue under glaze of foot. Date 1781. 


Height of ewer, 91, inches; length of basin, 14 ; inc. 


~ Elta 


(Illustrated) 


No. 228—ROYAL BLUE SEVRES EWER AND BASIN 
(French Eighteenth Century) 


229-—-TWO SAXE PORCELAIN FIGURINES, MOUNTED ~ 

(ce CUIVRE DORE Eighteenth Centu 
0 see White swans resting among green rushes, their heads facing out to lef 
right in expectant attitude. Rich translucent ivory glaze, with the plum 
exceptionally well rendered. Careful vigorous modeling. Mounted in cu 


doré with Louis XV oval bases, enriched rocaille scrollings and leaf. 
feet. (Both restored.) : 


(Illustrated) . 


. 
230—DECORATED SAXE PORCELAIN FIGURINE, MOU VT 


IN CUIVRE DORE | ss Biighteent 


y| 90 . “Lion,” Disturbed by a distant object, he lashes his tail, his 
pricked up, and mouth open showing his teeth, The fur is indica 
brown, 3 | ? | a 


Height, 8 inches; length 


(Aunquay yrusay6q) AYO AWAINO 
NI G&LNOOW ‘SANIYNOIA NIVTAOUOd AXVS OML—6ZzZ “ON 


122° 


231—DECORATED LAVENDER PINK PORCELAIN SAXE GAR- 


fe 


yo 


NITURE, MOUNTED IN CUIVRE DORE 
Highteenth Century 


Consisting of two beakers and covered vase. Beaker with two floral gar- 
landed reserved cartels, one daintily painted with pastoral group of figures 
illustrating an episode from an “Italian Comedy”; the other with fowl in land- 
scape. Minutely imbricated grounds of lavender-pink and crimson touched 
with gilding; pear-shaped ivory body, with bouquets of rare flowers. Inverted 
pear-shaped vase, with two reserved cartels, collar and domed cover having 
two cartouches and rosebud terminal. The cartels on body painted with simi- 
lar subjects to beaker; cover cartouches with fowl; grounds enhanced with 
similar lovely imbrications to beakers. Mounted in Louis XV cwivre doré 
with rocaille leaf and blossom scroll rim to beaker, double scrolled open han- 
dles and pierced rocaille and leaf base. The vase with leaf-scrolled pierced 
collar, connected with similar double scrolled handles as beakers and rocaille 
base. Marks, double swords of Meissen on one beaker in blue under glaze of 
foot. 

Heights, 10 and 14 inches. 


(Illustrated) 


(Lanquag yquaaqybr7) 
4uOd WUAINO NI GHLNOOW “AUALINUVS AXVS NIVTIAOWOd MNId WAANAAVT CULVYOOUd—1E] “ON 


232-SAXE PORCELAIN CLOCK, MOUNTED IN CUIVRE DORE a 
Louis XV Period jem 


Two seated figures of male and female musicians, evidently characters from a 
an Italian comedy, within a boscage of flowers, are supported and arbored by 
scrollings of rocaille and leafage in finely chiseled cuivre doré. ‘The arbor 
sustains a round porcelain dial; inscribed “Le Loutre, 4 Paris.” Glass 
case for same. 

Height, 181% inches; width, 14 mches. 


233—TWO CHINESE PORCELAIN JARDINIERES Cl’ien-lung 


3b 0: Square tapering body, on short feet. Decorated in colored enamels with fig- 
he ures of devotees, variously mounted or seated among attendants. On carved 
(6 "stands. 


Total height, 11 inches. 


234—_-CHINESE PORCELAIN JAR K’ang-hsi 
Oo. Inverted pear-shape, with spreading foot. Painted in rich enamels with fig- 
\2> ures of six Chinese maidens enjoying rural pleasures, cloud scrolls, waterfall 


and valanced brocade border at mouth. Carved wood cover. 


Height, 1314 inches. 


oe 235—TWO CHINESE PORCELAIN JARDINIERES 


b : ; ; : 
2 ‘ ee Tapering hexagonal shape; enriched with groups of Chinese personages en- 
I joying the pleasures of the country; executed in rich enamels on white glaze. 
On carved stands. 
Total height, 1338 mches. 


236—TWO CHINESE PORCELAIN JARS, MOUNTED IN CUIVRE 
0°: DORE Eighteenth Century 
Bee 


os Oviform, with mellow chocolate grounds, reserved with medallions of pink 
lotus blossoms, peonies and prunus in enamels. Mounted in cwivre doré, 
partially oxidized in silver, with gadroon moldings at crown and foot, domed 
and bracketed covers having cusped acanthus-leaf vase terminals. 


Height, 1314 mches. 


236,—CHINESE PORCELAIN JARDINIERE ON CARVED STAND 


5 O- Square tapering body, with canted corners. Enriched key pattern and j’ui 
bandings in enamel. Loose metal lining. Stand with shaped legs enriched 
with leafage. 

Total height, 127% inches. 


MAJOLICA AND FAIENCE OF THE SIXTEENTH, 
SEVENTEENTH AND EIGHTEENTH CENTURIES 


237—TWO FAIENCE APOTHECARY JARS 
Italian Eighteenth Century 


ae ee 
| b g 0 Incurved beaker; enriched with large floral motive and scrolling acanthus 
leaves in green, yellow and reserved white on cobalt-blue grounds. 


Height, 9% inches. 


2383—TWO FAIENCE DRUG POTS OR APOTHECARY JARS 


O° |C,Tapering sides, and decorated with yellow flowers set among blue, green and 
4 D yellow floral designs. Bands of the same colors round the rim and base. 


Height of one, 94% inches; of the other, 9 inches. 


239—TWO SIXTEENTH CENTURY ITALIAN DRUG POTS 


0: Cylindrical in shape. One decorated with waving geometrical and foliage 

yl o”- designs in yellow, blue, green, brown and white. The head of a warrior, 

seen in profile to the left, above the horizontal band, which is inscribed: “Dia 

Penedio.” The other ornamented with floral and geometrical patterns of 

like color. The head of a woman above the band, which is inscribed: 
“RITRUSA.” 


The horizontal band is inscribed: “Hyera. Cogodion.” 


Each: Height, 101% inches; diameter at top, 4 inches. 


Bought from Lowengard, Paris. 


0: , 
\2 240—TWO SIXTEENTH CENTURY ITALIAN FAIENCE APO- 
ye THECARY JARS 


4° 
Decorated with blue flowers. One is inscribed in a cartel: “metri datuz.” 
The other similarly ornamented in the cartel, but with the inscription: “dia 


rinamoni.”’ 
Height, 10 inches each. 


Bought from Ditta Darigo, Venice. 


241—LUSTRED RHAGES FAIENCE AMPHORA 
47 5 Early Seventeenth Century 


Oviform, with four small loop handles and relief-modeled festoons of rope 
motives on shoulder. Green glaze, with varied areas of silvery iridescence 
and incrustations from long interment. 

Height, 191% inches. 


YZ, 242—LARGE URBINO PLATE 


The border is decorated with a male head among foliage and two pairs of 
amorim. In the center, Cupid is bound to a tree and his bow is held by a 
kneeling female figure; two others pelt him with flowers. 


Diameter, 16 inches. 


aL, 


yo° 


AFTER RAPHAEL 


2483—URBINO WARE DISH (1546): “THE TAKING OF TROY” 


A large dish, with sunk center. Men on horseback and on foot, in battle 
array, on low-lying ground on the bank of a river; others ride down from the 
Castle. Buildings on the far side of the river. Inscribed: “Roina di Troia, 
1546. Fatto in Venezia in Chastello.” 


Diameter, 21 inches; in a glass case, 25 inches high. 


Formerly in the Andrew Fountaine (of Narford) Collection and sold June 17, 1884, 
No. 208. 


In the collection of Lord Amherst, of Hackney, at Didlington Hall, Norfolk, and sold 
at Christie’s, December 11, 1908, No. 14. 


Bought from Lowengard, Paris. 
Reproduced in color in H. Delange: “Recueil de Faiences Italiennes,” 1879, Plate 80, 


and referred to at page 23 in the following terms: ““We must say that it is the only 
work that we have met with, made in Venice, in Castello.” 


Redford: “Art Sales,” 1888, Vol. I, page 383. 


AFTER RAPHAEL 


Ce. 
65,7° 
244 SIXTEENTH CENTURY TRILOBATE URBINO CISTERN, 
OR BASIN: “THE GODS ON OLYMPUS” 


The curved rim is decorated with repeating volutes; a grotesque Satyr head 
forms each of the three handles. 'The inside is ornamented above with “The 
Gods on Olympus,” with Mars in the foreground of the group. In the cen- 
ter, at the foot of Olympus, the waters divide; on the left is Venus, nude and 
with a lyre, at the head of a group of her attendants; from the right issue 
forth other maidens who are about to disrobe and bathe. 'The outside of the 
cistern is ornamented with Italian hill-top towns in a summer landscape. 
The foot is formed of lions’ paws. Probably a work of Orazio Fontana. On 
a wood rest, contained within a case. 

Height, 11 inches; diameter, 161% inches. 


Sold out of the collection of Andrew Fountaine, of Narford, June 17, 1884, No. 82. 


ORAZIO FONTANA 


Circa 1545 


245—URBINO FAIENCE VASE 


The neck and upper side portion of the cylindrical vase are decorated with 
satyrs, dolphins and other fantastic creatures, variously employed and ren- 
dered in a ribbon-like design. In a cartouche a satyr and a nymph are seated. 
Below the horizontal band, formed of blue and yellow cross sections, is a wide 
field containing strange creatures of similar hue, set in a decorative plan. In 
the center is a quatrefoil containing a rocky landscape with a man and, seated 
behind him, a woman on horseback pursued by mounted soldiers. Left and 
right of this central motif is a small circular medallion with figures, seen in 
an azure field. Below a second horizontal band in a cartel is the inscription: 


“Corre Amadis tras Gasinan -y 
le hauia hurtado una Donzetta 
y si hascia defendida de otro 
Canebero. LXIII.” 


On the reverse is, above, a medallion with the “Judgment of Paris.” Beneath 
the upper horizontal band is a quatrefoil, containing three warriors grouped 
in the center and two other soldiers in the left background, all seen in a 
hilly landscape. Below the second horizontal band is an oblong cartel in- 
scribed: 

“Despues de heridos en muchas 

partes se reconocen Amadis y 


Galaor. LXII.” 


This vase, which has a thin stem ornamented with fantastic animals, stands on 
a hexagonal base borne on claw feet. This base is detachable and is orna- 
mented with egg and tongue patterns; it is set round with six framed panels 
of Renaissance invention, which are alternatively oval. 

Height, 26% imches. 
From the collection of the late Baron Adolphe de Rothschild, Paris. 
Bought from Duveen Brothers. 


The subject of Amadis of Gaul, here represented, is derived from a romance of 
ideal chivalry which sets forth the “fairest and the best” of the heroes. This romance 
is the father of the innumerable lineage that sprang up in Spanish literature during the 
sixteenth century. It was perhaps composed in 1492-96. The first edition known was 
printed in 1508 and is the earliest version of the romance that has come down to us. 
France, Spain and Portugal have each been claimed as the cradle of this romance, the 
author of which was a Regidor of the most noble city of Medina del Campo. 


(Illustrated) 


ee a es r 


BY ORAZIO FONTANA 
No. 245—URBINO FAIENCE VASE 


eee 


ORAZIO FONTANA 
Crrca 1545 


246—LARGE URBINO BALUSTER VASE 


The handles are each formed of two entwined serpents whose heads coil along 
the rim of the vase. Beneath each handle is a yellow winged head, and below 
each, again, is an oval compartment, ornamented in blue with a mythological 
scene. ‘The main field is strewn with quaint mythological creatures and fan- 
tastic animals, set out in fanciful patterns. The circular medallion with a yel- 
low ground, contained within a blue border, represents “The Building of the 
Tower of Babel”; such another medallion on the reverse presents to us Shep- 
herds with their flocks and other animals, 1.e. “The Scattering of the People.” 
Beneath the yellow horizontal band above the stem are four medallions spaced 
between weird creatures and birds. ‘The round foot of the vase rests on a 
triangular base which on one side is inscribed: 


FATTE IN URBINO IN BTEGA 
DI ORATIO FONTANA 


ORAZIO FONTANA 
Circa 1545 


247—URBINO BALUSTER VASE 


For the most part similar in decoration to No. 246. The circular medallion 
sets forth in detail “The Building of Solomon’s Temple”; another scene ren- 
ders, on the reverse, “The Creation of the Kingdom of Judah.” Inscribed 


on one side of the triangular base: 


FATTE IN URBINO IN BO- 
TEGA D. ORATIO 


FONTANA 
Height, 21 inches. 


From the collection of the late Adolphe de Rothschild, Paris, and the collection of M. 
Charles Stem. 


These two vases are said to have been at one time in the famous Spitzer Collec- 
tion. They are dealt with at length in the Gazette des Beaux Arts, February, 1886, page 
127, and reproduced at page 414: ‘In spite of the chronology and classification, two 
masterpieces quite at the beginning attract our attention; they are large Urbino vases 
and a pair; we shall give an engraving out of the text, so as best to set forth their form 
and decorative quality, their fine drawing, harmony of colour and variety, as well as the 
milky quality of the white enamel which serves as a background. Moreover, these two 
pieces bear the inscription . . . 

Here, therefore, is an authentic work, if not of a celebrated potter, at least of his 
workshop, which can serve to fix attributions of pieces that may be similar or may have 
such decoration as we admire in the Bargello, in the Louvre or in other collections.” 


(Illustrated) 


BY ORAZIO FONTANA 
Nos. 246-247—URBINO BALUSTER VASES 


248—MOUNTED CHINESE PORCELAIN VASE Ming — 


eee Depressed baluster-shape; enriched in open relief with band of Taoist Im- 

9? mortals and attendants in center, large scrollings of peonies and open jwi 
motives at base; glazed in greens, yellows, deep ivory and aubergine. 
Mounted in cuivre doré with leaf and husk enriched moldings at crown and 

base; supported on finely scrolled acanthus leaves and husks. 


(Illustrated) 


fig , 
249—TWO SIXTEENTH CENTURY HISPANO-MORESQUE FA ae 
IENCE VASES 


HW & 0. Ovoid in shape, with metallic lustre. One decorated with cream- -colored gec aos 
| metric patterns and two seven-stemmed sprigs of foliage, together with two ae 
»4-" horizontal bands seen on a lustred ground. The other decorated with spra 

of three-stemmed and sie berernnee blue leafage and cream- -colored_ flor 

designs seen on a lustred brown ground. 


Height, 101% inches; diameters at neck, 51% and ‘5 inches. 


Bought from Lowengard, Paris. 


250—-TWO SIXTEENTH CENTURY HISPANO-MO 
noe VASES WITH COVERS 


The body of each is shaped with projecting and tapering strap 

o-“ rated with azure blue leafage and floral designs and lustred in gold. 

3 as the neck of each is a horizontal band ornamented with a floral pattern w 
varies in each vase. Twisted cable handles. The cover of each is 

mented in like manner, but crowned with a bouton which is not e3 

similar. | sie a 

Height of one, 111% inches; of the other, 11 


Bought from Lowengard, Paris. 


(Illustrated) 


248 


250 250 


No. 248—MOUNTED CHINESE PORCELAIN VASE (ding) 


No. 250—TWO SIXTEENTH CENTURY HISPANO-MORESQUE 
VASES WITH COVERS 


MINIATURES AND CABINET OBJECTS 


251—GOLD-MOUNTED AGATE ETUI French Eighteenth Century 
3; Tapering oblong blue and gray agate. Mounted in gold, with molded open 
scrollings at crown, hinge and foot. Length. 81 stag 


252—WEDGWOOD BLUE AND WHITE JASPER MEDALLION 
Eighteenth Century 


5) ’ Mneas and his son Ascanius standing before and pleading with Anchises, 
the Trojan hero’s father. In gilded frame. (Restored.) 


Diameter, 6 inches. 


2583—TERRE CUITE MEDALLION 
By Douan; French Eighteenth Century 


% 5 ; Circular; delicately modeled with a seated figure of warrior, wearing plumed 
helm and having his head turned to the distance. In cuivre doré scrolled ro- 
caille frame. 


254—IVORY MINIATURE IN GOLD FRAME 
Dutch School, Early Eighteenth Century 


42 we “Blarenbergh.” Panoramic view of this old-world, straggling town with a 
river winding its way through its midst, over which is a bridge. In the middle 
distance three horsemen are fording the stream and other personages are being 
ferried across. In the foreground are two groups regaling themselves before 
an ancient tavern. 


JACQUES CHARLIER (arrern FRAGONARD) 
255—IVORY MINIATURE French School, Eighteenth Century 


g: (Pee “Venus Reclining amid Her Nymphs.” Lightly draped figure of the goddess 
reclining on the lap of her favorite nymph, who is seated on a blue drapery 
garlanded with flowers. Two Cupidons offer the nymph flowers. At left a 
further reclining nymph carrying a bow and a garland of flowers held aloft 
by two flying sr idons. Height, 5 inches; length, 7 inches. 


MARIA COSWAY 


ENGLIsH 
256—VENUS AND CUPIDON 
uf | De (Miniature, Water Color) 
Height, 51% inches; length, 9 inches 


Venus reclining on a couch before an open window giving a distant view of 
an Italian garden. Her son, Cupidon, embraces his mother. ‘Two further 
cupidons hold back a drapery to the window at right. In finely chiseled 
cuivre doré frame of the period. 


& 


FRENCH SCHOOL 


EIGHTEENTH CENTURY 
257—VENUS AND ADONIS AT CUPIDON’S BATH 
J30. (Miniature on Ivory) 
Height, 5 inches; width, 41 inches 


Lightly draped Venus and Adonis joyously run toward a gushing fountain 
in which eight cupidons are sporting amid the water. 


FRENCH SCHOOL 


EIGHTEENTH CENTURY 


258—VENUS AND CUPIDON 
)2 0. Oval: Height, 3 inches; length, 352 inches 


Lightly draped cupid reclines on a pallet before a landscape in which Cupi- 
don stands with his bow and arrows in his hands. 


259—-MOTHER-OF-PEARL TEA CADDY, MOUNTED IN CUIVRE 


DORE French Eighteenth Century 

oO ; : : ; 

25°. Oblong, with hinged cover and sides paneled in florally scrolled mother-of- 

pearl; enriched in cuivre doré with bands of rocaille scrollings, escutcheon, 

lifting handle and molded base. Fitted with similarly engraved mother-of- 
pearl sugar box and two caddies. Interior lined with crimson velours. 


Length, 87g inches. 


J. BRECHEISEN 
260—TWO ENAMELS Danish, Eighteenth Century School 


29 


260 (A) “Vénus au Bain.” A fair goddess is seated at a rocky wooded brook with 
: a drapery lightly thrown over her lower limbs and two cupidons are sport- 
ing near her feet. Cattle and lake in the distance. 


$3 0. 

4 (Bs) “Venus Endormie.” Venus asleep reclined on a crimson drapery spread 
over a rocky knoll, before woodland. Two playful but sleepy cupidons are 
near a flaming torch at left. Height, 5 inches; width, 414 inches. 
Signed on back, J. BREcHEISEN, CopENHAGEN, Marcu 31, 1762. 

ut a eS WS 
261—BATTERSEA ENAMEL BOWL, MOUNTED IN CUIVRE 
DORE Eighteenth Century 


/¢06, Enriched with four cartels painted with figures of peasants in landscapes in 
rich colors; interrupted by gilded basket motives, blue ribbons and sprays of 
flowers. Mounted in cuivre doré with interior lining, leaf rim and similar 
leaf-motived molded foot. (Restored.) 


#4395 A, houk BGs 


Diameter, 51% inches. 


* 
4 a 


A oder & Ker 
Fig RO Sy ny. Bs 
Sees 


262—LAPIS-LAZULI AND SILVER INKSTAND 
Late Italian Renaissance 


yo - Oblong tray of silver, with lapis-lazuli center and ball feet: enriched with vine 
scroll border studded with berries of coral. Urn-shaped well and shaker at 
ends, flanking a beautiful black agate oval coupe supported by two mermaids 
and studded with coral sprays. 
Length, 15%4 inches. 


ee a FRENCH BRONZES 
! ) 


OF; 
y® 2683—TWO BRONZE FIGURINES By J. L. Gérome 


“A Roman Gladiator.” Standing upright, wearing helmet having its visor 
down; carrying short sword erect to helmet and shield against his left thigh. 
The other, “A Roman Athlete,’ wearing cestus, round helmet and an ani- 
mal’s pelt over right shoulder; in his left hand he holds a long trident. Deep 
green patina. Signed at rear of base: J. L. Gérome. 


Heights, 17144 and 174% wmches. 


10% 3 
? 264—BRONZE GROUP By Antoine Barye 
“Jaguar Attacking Elk.” An elk is almost down on his haunches on the 
rocky ground; a ferocious jaguar has seized him on the back of the neck, caus- 


ing the larger brute to bellow in anguish. Rich green and black patina. 
Signed: Barye. Gulded indent F. B. and “F. Barbedienne Fondeur.” 


Height, 9 inches; length, 13V% inches. 


600. 


265—BRONZE EQUESTRIAN GROUP By E. Frémiet 


“Ready for the Tournament.” A knight wearing shirt of mail under full 
body armor, long mantle and the visor of helmet up, sits astride a powerful 
charger with his lance at rest on the ground, waiting calmly for the fray. 
The charger seems in perfect accord with its rider and is gayly caparisoned, 
but wears a chaffron to protect its head. Deep rich yellow-brown patina. 
Signed “E. Frémiet” at top rear of oblong rustic plinth. 


Height, 18 inches; width, 16 inches. 


266—BRONZE EQUESTRIAN GROUP By Antoine Barye 


“Gascon de Foix.” 'The noble Gascon is astride a mighty caparisoned charger 
and is attired in full body armor over shirt of mail: brassards, cuissards, gam=> 
bords, long spurs and truncheon. His charger, in full armor, bears de Foix’s 
coat-of-arms on flanks and chest. Rich green-black patina. Loose oval-top 
plinth and arabesqued paneled pedestal, with extended pilasters having 
shields on three sides and extending molded base with pendented feet. 


Signed: “Barye. Height of bronze, 1884 inches; width, 12%@ inches. 
Height of pedestal, 6% inches; length, 1714 inches, 


CUIVRE DORE AND ORMOLU OF THE EIGHTEENTH CENTURY 


46° = = 267—TWO CUIVRE DORE CANDLESTICKS Régence Period 


Spiralled cartouche shaft, enriched with three demi-cupidons; supporting 
leaf-adorned bobéche. On irregular molded flaring base, enhanced with flut- 
ings, leaf and shell motives. 
Height, 1414 inches. 
ae 


40. 268—TWO CUIVRE DORE VASES OF FLOWERS Deh 
: Louis XVI-Period 
Oviform vase, filled with bouquet of roses, lilies and foliage. On square — 


statuary marble base. 
Height, 5% inches. 


4? ' 269—CUIVRE DORE KEY RACK Louis XV Period 


Cartouched shell center, finely scrolled with open leafage, buds and blossoms. 
Two hooks and half-ring central projection for keys. 
Length, 6 inches. 


100 of Oe 


270—THREE CUIVRE DORE FIGURINES French Renaissance 


Curious winged sphinxes with scrolled mermaids’ tails and paw feet. Finely 
modeled and richly gilded. 


Height, 81% inches 


271—TWO BRONZE FIGURINES 
7a ° ae me : 
¥ I S50: a French Eighteenth Century, Period of Lows XVI 


Bo , 

Representing children playing musical instruments. In the style of Jean 
Baptiste Pigalle. They are represented only lightly draped. One is seated 
playing Pan’s pipes; the other kneels on one knee beating time to the music 
with a baton. Rich black patina. On cuivre doré square bases enriched with 


leaf moldings. Heights, 124% and 12 inches. 


Two similar statuettes are in the Wallace Collection in London, reproduced in the 
Catalogue of the Wallace Collection by Emile Molinier, pl. 55. 


q 0, 272--CUIVRE DORE FIGURINE French EKighteenth Century 


“Cupidon.” A chubby laughing boy, seated holding a truncheon in his hands. 
On fluted broken column of statuary marble with round base; enriched with 
gilded husks. 

Total height, 644 inches. 


oo 
oo : 
| 273—TWO CUIVRE DORE MARBLE CANDLESTICKS 
Vie Louis XVI Period 


Slender oviform vase of statuary marble, bearing bouquet of flowers in cutvre 
doré having one flower fitted for socket. Supported on open tripod with paw 


feet, chain festoons and round dove marble base. 
Heights, 1014 mches. 


274 TWO CUIVRE DORE CANDLESTICKS Louis XVI Period 
0- 
\? y- “Tapering square paneled shaft; enriched with rams’ heads, bowknots and 
0: pendent husks. Surmounted by festooned vase-shaped sockets; on molded 
bh square base with canted corners and gadrooned feet. 


Height, 844 mches. 


275—TWO CUIVRE DORE CANDLESTICKS Louis Philippe Period 
Gracefully husked and leaved tapering round shaft, candle socket and round 

base. Fitted with electric candle and shade with colored print. 
Total height, 1614 inches. 


276—TWO BRONZE FIGURINES Louis XVI Period, after Pigalle 


Ly bee Little cupidons. Seated girl holding a tambourine; the boy with Pan’s pipes. 
9 Supported on square Bréche d’Alpes marble base, with cuivre doré acanthus- 
leaf molded enrichments and molded black marble plinth. 


Heights, 914 and 934 inches. 


277—_BRONZE GROUP By St. Germain; French Eighteenth Century 
5 ee “Venus and Cupidon.” <A slender, graceful Venus standing with left leg 
slightly raised; she wears a light clinging robe and a large mantle falling 


over her shoulders to the ground; at her right side she has festooned the 
mantle and a little cupidon is thrusting masses of roses into the so formed 
pannier. Rich dark brown patina of period. On square rustic base and 
ebony pedestal, relieved with cuivre doré leaf and shell moldings. 


Total height, 18 mches. 


Note: The figure of Venus shows similarity with the figure by St. Germain deco- 
rating a clock in the Louvre, reproduced in Dumonthier: “Les Bronzes du Mobilier 
National,” pl. IX, fig. 3. 

5 (Illustrated) 


: 
ia 


No. 277—BRONZE GROUP (By St. Germain; French Eighteenth Century) 


pro 


_ 278—TWO CUIVRE DORE CANDLESTICKS 
pe French Late Eighteenth Century 


Faun standing beside rustic tree-trunk and holding bunches of grapes. On 
molded round base having acanthus-leaf enrichment. 
yr Height, 10 inches. 
f? 


+ 
279—TWO CUIVRE DORE FIGURINES Louis XVI Period 
Cupidons allegorical of Spring and Autumn. Standing figures with gath- 


ered-up robe filled with flowers and grapes; one with bird’s nest in hand. 
On square statuary marble base. . 


oe 


Height, 74/4 imches. 


(eee. BRONZE FIGURINES Directoire Period 


Lightly draped figures of “Nymphs.” Seated, one holding a scroll, the other 
a bird. Rich red-brown patina. On round statuary marble bases with cuivre 
doré button feet. 


is Agios Height, 121% inches. 


ny» —FOUR BRONZE FIGURINES Louis XVI Period 


“Cupidons Representing the Seasons.” Spring, a cupidon appealing to the 
early morn; Summer, bearing a sheaf of wheat; Autumn, vine-laureated and 
holding bunches of grapes; Winter, with mantle over head carrying a bundle 
of wood. Rich brown patina. Cuivre doré scrolled square base; enriched with 
shell motives, acanthus leaves and flowers. 

Height, Rancres 


0: 282—CUIVRE DORE FIGURINE ON STATUARY MARBLE BASE 
hb Directoire Period 


“Day Dreams.” Recumbent figure of a nymph attired in voluminous drapery 
and hair curling over shoulders; she supports her head with left arm. Finely — 
modeled and gilded. On molded oblong marble base. 


pee 


4 b 0 ~ 983—TWO BRONZE FIGURINES _ . French Late Eighteenth Century 


Height, 12 inches. — “ae 


“Flora and Her Nymph.” Lightly draped graceful figures, posed as if ; ag 


about to dance; both wear flowers in their hair. Flora has left arm raised, 
the other lowered holding flowers. The nymph holds flowers to her breast — 
with her right hand. They stand before short rustic trunks, on round bases. 
On high molded square statuary marble pedestals. | 


Total heights, 147, and 1414 inches. — 


285 284. 


_ 


4) . 
45 ~* 984 BRONZE PEDESTALED STATUETTE 
By Pigalle; French, 1714-1785 


“Cardinal Mazarin.” Standing at pedestal enriched with figure symbolic of 
“Mercy,” declaiming to an audience from an open tome. He wears long curl- 
ing hair to shoulders and his robes of office. A fine majestic figure. On 
molded high square pedestal. Green-brown patina. The pedestal of the 
Empire period. 

Height, 22°/, inches. 


62 ©5835 BRONZE PEDESTALED STATUETTE 
By Pigalle; French, 1714-1785 


“The Poet Voltaire.” Seated, holding a tome in left hand, wearing long 
curling wig and loose robes. On similar pedestal to preceding, bearing me- 
dallioned head of the poet Horace. of the Empire period. Signed Pigalle. 


Height, 211% inches. 


yr 
0 
49 


286—PAIR OF ANTIQUE ITALIAN ALABASTER STAT 
Female Figures, the heads, hands, feet and attributes in each of g 
That on the left holds in the folds of her drapery a mass of flowers 
the right holds an urn containing flames of fire. Each on a circula: 
base. 


bb 
(Illustrated) 


we an 287—-ALABASTER TAZZA, MOUNTED IN CUIVRE D 
, 3 French Eighteen 

Round molded creamy alabaster bowl; supported by grouped 

_ the three graces in cutvre doré and round Siena marble base. _ a 


No. 286—PAIR OF ANTIQUE ITALIAN ALABASTER STATUETTES 


288—BRONZE GROUP By Clodion (Claude Michel) ; French, 1788-1814 


“Satyr, Sportive Cupidon and Infant Faun.” <A vine-laureated satyr, with 
: sardonic grin on his face, is seated resting his right arm on a rustic tree- 
na trunk, his left extended holding a tambourine of grapes on his knee; the 
I grapes are the attraction for an active little faun that the satyr is partially 
restraining with his right hand, although the little rascal has reached over 
the satyr’s knee and almost attained his object. Cupidon is on the ground 
frolicking, and to divert attention has clutched the satyr’s right hoof. Pan’s 
pipes are on the grape-strewn rustic base. On molded round plinth. Very 
rich deep yellow-brown patina. Signed ‘“‘Clodion” at back. 


Height, 214% wmches. 


>’ 


Mentioned in Lami: “Dictionnaire des sculpteurs de Vécole francaise du 18 siécle,’ 
Vol. IT, page 158. 


Note: This and the following group are slightly changed repetitions of Clodion’s 
well-known groups representing the same subjects in the Cluny Museum in Paris which 
are signed and dated 1783 and were presented in 1891 to the Cluny Museum by Léon 
Moreaux. They are reproduced in an article by Jules Guiffrey in the Gazette des 
Beaux Arts, 1893, Vol. I, pages 393 and 395; also in the book by Thirion on “Les Adam 
et Clodion,” 1885, pages 233 and 285. 


Micuet (Cxiaupe) called Ciopron: Born in Nancy in 1738; died in 1814. Studied 
in Paris in the atelier of his uncle and later with Pigalle. In 1759 Clodion received the 
first prize in sculpture. Went to Rome in 1762 and stayed there until 1771, when he 
came back to Paris. Married in 1781 the daughter of the sculptor Augustin Pajou, 
and it was only in 1798 that he entered the Royal Academy of Painting and Sculpture. 


(Companion to the following) 


(Illustrated) 


y° * 289—BRONZE GROUP By Clodion (Claude Michel) ; French, 1788-1814 


\\ “Wood Nymph, Sportive Cupidon and Infant Faun.” The vine-laureated 
wood nymph is seated on rocky ground; a light drapery loosely falls over 
her lap; on her left knee, which is crossed over to right, she restrains a ven- 
turesome infant faun, who wants to join in play with a cupidon on the ground 
beneath, who laughs up at them, evidently recollecting some amusing prank 
he has played in the past. ‘The expression of uncertain caution of the infant 
faun is inimitable. On molded round base. Rich deep yellow-brown patina. 
Signel “Clodion” at back. 

Height, 211% inches, 


(Companion to the preceding) 


(Illustrated) 


288 


BY CLODION (CLAUDE MICHEL) 


288-289—BRONZE GROUPS 


Os. 


N 


\~ 


6° 
290—TWO CUIVRE DORE FIGURINES 


ae 


By Pigalle; French, 1714-) 


“Cupidons Holding up Mirrors to Venus.” Cupidon facing slightly 
with one knee on rocky ground, holds up, on higher rock, a circular 
for his mother, Venus, to view her charms; he has garlanded the m 
flowers and fruit. Cupidon’s chubby little sister, facing slightly - 
seated and holding a similarly garlanded mirror in much the same wa) 
brother. Exceptionally fine chiseling and gilding. Fine original — 
Both figures are on incurved fluted oval statuary marble bases; enr: 
husks in the flutings and leaf moldings. : 
Height, 10 


Note: These two charming figurines were supposed to be made for and p 
an admirer to Marie Antoinette, flattering her with the assumption of her b 
ing that of Venus. 


(Illustrated) 


SANIYONSIA AYO AYAINI OMI—06z “ON 
ATIVOId A 


ip iit Oe Ee 


aa Hens 


4.3 


o 


4 
a 


*291—MARBLE BUST OF MME. DE WAILLY, née BELLEVILLE 
By Augustin Pajou — s 


Madame de Wailly is represented facing to the front with her eyes look- 


ing toward the left. Her hair is arranged in elaborate curls falling to her 


shoulders and framing her beautiful face. She wears a gown loosely draped _ 
and exposing her left shoulder. On a molded round dove-gray marble bas 
and square plinth. Signed at back, “Pajou,” and dated 1789. 


32, pl. IT, as belonging to the David Weill Collection in Paris and formerly im t 
Mme. Lelong and in the Princess de Wagram Collections. It was exhibited m the 
Salon in Paris in 1789. p 


' Note: Madame de Wailly, née Belleville, was the wife of the famous French Arc 
tect Charles de Wailly, who was attached to the Court of the French King, and who e) 
a personal friend of Pajou. His terra-cotta bust in the Baron de Bethman Collection _ 
in Paris was also executed by Pajou (reproduced in Stein: “Augustin Pajou,” 
27). When Charles de Wailly died in 1798, Madame de Wailly married Antoine Fou 
croy, member of the Academy of Science in Paris and General Director of Public 
struction. 


Pasov, Avcustin: Born in Paris in 1730; died in 1809. Pupil of Jean Baptis 
Lemoine, whose atelier he entered when fourteen years of age. Went to Rome in 17 
and entered the Royal Academy. In 1736 he came back to Paris, where he entere 
Royal Academy of Sees and Sculpture, 


(Illustrated) 


No. 


BY AUGUSTIN PAJOU 
291—MARBLE BUST OF MME. DE WAILLY, née BELLEVILLE 


_o*  292—LIMESTONE BUST OF MARIE ANTOINETTE 
G? Attributed to Augustin Pajou 


Marie Antoinette is represented facing to the front. Her hair is dressed high 
and a few curls fall to her shoulders. She wears a gown cut low and draped 
in front and over her shoulders. From her neck hangs a ribbon to which is 
attached a medallion with the image of Louis XVI. On a square molded 
base. 

Height, 335% inches. 


Note: Pajou executed many portraits of Marie Antoinette. Among them the most 
famous is the group in which the Queen is represented as Venus holding the Cupid (it 
represents her new-born child) in her arms and of which there is one example in the 
possession of Madame Francis de Croiseet in Paris and another in the Musée de Manu- 
facture de Sévres. As for busts of her, there is one in the Palais de Trianon in Ver- 
sailles and another in the Chateau de Versailles. 


Pasov, Aveustin: Born in Paris in 1730; died in 1809. Pupil of Jean Baptiste 
Lemoine, whose atelier he entered when fourteen years of age. Went to Rome in 1752 
and entered there the Royal Academy. In 1736 he came back to Paris, where he en- 
tered the Royal Academy of Painting and Sculpture. 


(Illustrated) 


qd 293—SCULPTURED STATUARY MARBLE GROUP 
d French Eighteenth Century 


“The Magdalen.” Reclining lightly robed figure meditating on a skull held 
in left hand. 


Length, 18 inches. 


ATTRIBUTED TO AUGUSTIN PAJOU 


No, 292—-LIMESTONE BUST OF MARIE ANTOINETTE 


0 
1, 


294 MARBLE STATUETTE REPRESENTING MERCURY 


BY JEAN BAPTISTE PIGALLE 


(Born in Paris in 1714; died in 1785) 


TACHING HIS HEEL WINGS 


Mercury is seated on rolling cloud forms. He is represented naked, a = pe 
covering only a part of his loins. He wears his famous winged hat, al 


the Berlin Museum, executed in 1748 at the order of the French King Louis x 
gave it as a present to the King of Prussia. A small marble statuette of this 
executed by Pigalle in 1744 as his diploma work, is in the Louvre, ee with | 


replica in marble belonged formerly to the “fermier général” Bouret. 


75° 


295—SCULPTURED STATUARY MARBLE GROUP ~ By Allegrain 


“Leda and Swan.” The daughter of King Thestius, lightly robed, stands 
with her right hand resting on a drapery, her head gracefully turned down- 
ward to the swan at her right side. Her other hand is raised in a gentle 


warning gesture to the swan. Finely modeled with rare feeling for flesh 
texture. On molded round base. 


Height, 25 inches. 


ALLEGRAIN, CHRISTOPHE GABRIEL: Born in Paris in 1710; died in 1795. Brother- 
in-law of the sculptor Pigalle. Was agreed in 1748 to the Royal Academy of Painting 
and Sculpture. He was almost constantly employed by Madame du Barry in her 
Chateau in Luciennes, from which come her best known statues in the Louvre, “La 
Baigneuse” and “Diane surprise au bain” (Nos. 483 and 484). 


296-SCULPTURED STATUARY MARBLE GROUP 
By Pajou; French, 1780-1809 


“Satyr and Bacchic Infant.” A bearded muscular Satyr, looking slightly ; a 
to right, is seated on draped uneven rocky ground spread with fruit. He o 
dandles on his raised left knee a Bacchic infant, who joyfully plays his a 
6 42 reeded pipes. On molded oval dove-gray plinth. Signed in front, “Pajou; =a 


and dated 1778. Be 
; Total height, 1914 mches. 


Note: This delightful group and the succeeding group are undoubtedly two of the m 
most charming and playful sculptures ever produced by Pajou, who was so famous” 
for his portrait sculpture. ; 


(Illustrated) 


297—SCULPTURED STATUARY MARBLE GROUP ae 
By Pajou; French, 1780-1809 


“Bacchic Wood Nymph and Infant.” A nymph looking slightly to le 
fas, a wearing knopped hair at back, is seated on rocky, uneven ground spread wi 
fruit, amid which her tambourine is seen. She is holding and fervently ki 
ing her little offspring, who stands against her right knee with a bunch 
grapes under his left arm. (Restored.) On oval dove-gray marble pli 
Signed at back, “Pajou,” and dated 1778. : 


Total height, 1914 in ) 


Note: The two groups here described are reproduced in Henri Stein: “Augustin 
Pajou,” pages 212-213, as belonging to the collection of Edouard Kann in Paris, 
were formerly in the Bischoffheim Collection, and were lent by him to the “Expos 
de Art au 18me siécle,” 1884, No. 268. x ot 

Pasov, Aveustin: Born in Paris in 1730; died in 1809. Pupil of Jean Bap 
Lemoine. Went to Rome in 1752 and came back to Paris in 1756, where he ente 
Royal Academy of Painting and Sculpture. RS 


(Illustrated) 


SdQOUD WIGUVW AUVOLVLIS GHYOLdTIOS—L62E-966 SON 
NOLVd NICGSOONV Ad 


is steadying himself with his hands on its aioalders On oblone ree ba 
with bunches of grapes scattered thereon. Signed on base, “Johan 
Claudius De Cock inv. fee anno 1724.” (One leg of mounted saty 
been restored. ) a 


Half statuary marble pedestal of later period. Oblong iecacen shaft with » 
crown and base enriched with leaf moldings. 


L400. 


gZoado #a, 


299—TWO BRONZE STATUETTES French Eighteenth Century 


ee 


“Infants Bacchus and Venus.” Young Bacchus, with vine wreath in his hair, 
joyously stands on a rustic base amid bunches of grapes that he is playfully 
spilling from his robe, held up as a festooned pannier with his two hands. 
The sorrowful little Venus stands holding her robe up in a similar manner 
and dries a tear with her left hand as she glances sidelong at her two dead 
love-birds in her gathered-up robe. Rich green-black patina of the period. 
On molded round Rouge Royale marble plinth. 

Height, 20 inches. 


300—BRONZE BUST French Eighteenth Century 


“Young Girl.” Wearing vine leaves and grapes in her long waving hair, 
which falls past her shoulders, and robe draped low round her bosom. On 
round molded plinth. Pedestal for same. 

Bust height, 1884 inches. 


301I—CARVED BOXWOOD FIGURINE French Eighteenth Century 


“Bacchic Youth Dancing.” A joyous figure, wearing a wreath of pendent 

19 , grapes in his hair and loose trunks, he holds his hands together to his right 
and lightly stands on his left foot, the other raised in the act of dancing to the 
swaying of his lithe body. On circular molded ebonized pedestal. 


Total height, 155% inches. 


3022—-TWO MARBLE CASSOLETTES, MOUNTED IN CUIVRE ‘a a 
DORE Louis XVI Period a 


0° ; Egg-shaped smoked cream marble body, with similar dome cover. Mounted es 
ve ‘in finely chiseled cuivre doré with leaf and berry terminal, gadroon-molding 

4° to cover, incurved neck with chevroned shoulder having open scrolling below "a 

and two grotesque leonic-ass headed handles. On molded round base and ae 


square plinth adorned with gadroons and pointed leaves. se 
Height, 115% inches. 


303—TWO MARBLE CASSOLETTES, MOUNTED IN CUIVRE> 
: p- DORE AS LAMPS, WITH SHADES Louis XVI Period 


Statuary marble urn-shaped bowl, with dome cover and incurved rounded — 
triangular plinth. Mounted in cuivre doré with ram’s-horned satyr-mask 

ee tripod legs tapering to hoof feet and standing on an incurved base with — 
% fruit finial. Champagne-colored silk shade. Total height, 227, inches. 


Ran 
tee 


304—TWO CUIVRE DORE AND MARBLE LAMPS AND SHADES 
nee Directoire Period 
| } Cuivre doré figure of a voluminously robed vestal, standing holding aloft a 
mall marble vase and a surmounting gilded leaf urn and a cut-glass bowl 
4°° On stepped circular statuary marble base, capped by round fillet of red por- 


phyry. Champagne-colored silk shades. Total height, 27 inches 


305—CUT-CRYSTAL GLASS FLOWER HOLDER, MOUNTED — 
A CUIVRE DORE | Louis XVTeee 


hy 5 Funnel-shaped bowl, cut with stripes and scalloped rim. Supported by cuivre 
doré tripod enriched with satyr-masks having rams’ horns and hoof feet; 


fruit pinnacle in center, on round malachite base furnished with half st 


uary round marble plinth. Height. 17 i 
eight, mel 


8550, 306-—TWO BRONZE AND CUIVRE DORE CANDELABRA 
French Eighteenth Century, Period of Lows XVI 


2 s,.~« Standing figures of Flora and Pomona in black-green bronze, having bas- 
kets of flowers at feet, and upholding cwivre doré cornucopias of flowers and 
fruit emitting three scrolled arms fitted for wax candles. Red porphyry 
plinth, enriched with gilded wreath of laurel leaves. 

Height, 30 inches. 


Note: Two very similar candelabra were formerly in the Eugéne Kraemer Collec- 
tion (reproduced in Catalogue, 1913, Vol. I, page 92, pl. 113). 


307—TWO BRONZE FIGURINES Directoire Period 


“Two Small Psyches Dancing.” Both with long curling hair, butterfly wings 

ff © + ,* and ribbon sash, their arms raised in action and one foot of each lifted from 

pe the ground. Fine golden green patina of period. Supported on molded 
square plinths, enriched with gilded stellate motives and leaf moldings. 


Total heights, 175% inches. 


- 


308—ORMOLU AND MARBLE CLOCK 2 
French KHighteenth Century; by Barancourt 


42?’ 


“Venus and Cupidon.” Modeled by Falconet. Domed statuary marble body 
and double plinths. A lightly draped Venus gracefully leans over the dome, 
her right hand stretched forth to receive from her little son, Cupidon, a love- 
bird he is handing to her; a drapery of cuivre doré falls over the back of the _ 
body. The plinths are variously enriched with leaf moldings, trophy and fes- 
tooned lion paws between the two plinths. Porcelain dial, signed “Baran-— 


” e 
court. Height, 14 inches. — 


Note: The composition is similar to the one in the clock in the Palais de ’Elysée in 


Paris, reproduced in Dumonthier: “Les Bronzes du Mobilier National,” pl. 20, No. 1. 
(Illustrated) 


_ 809—TWO BRONZE AND MARBLE CANDELABRA ee 
40° ee Louis XVI Period G 
Cuivre doré leaf-enriched urn, surmounted by two adjustable scrolled sone 

thus-leaf arms for lights. Supported by three caryatids in rich brown f 


bronze and statuary marble plinths, enriched with tasseled chain festoons « 


oe Height, 16 in 


310—TWO BRONZE AND CUIVRE DORE CANDELABRA ‘ 

: French Eighteenth Century; Period of Louis XP 
(oy Oe Two bronze nymphs in lightly draped robes gayly dance as they hold a 
3° staves, each terminating in three rams’ heads and surmounted by three lig 
scrolled acanthus-leaf arms and central standard terminating in a pineap 

and leaf motive, festooned with chains. On dove marble pedestal, festoo 

with further chains and adorned with pearl moldings and square base. | 


Height, 27 inches. 


N ote: There are similarities with candelabra snes in the Eugéne Kraemer Col- 
lection, reproduced in Catalogue, 1913, pl. 106. 


(Illustrated) 


(IAX smoT fo popag ‘hunjuay yzusarybry yout) VYAV'TAGNVO TNO AYAINO CNV AZNOMA OMI—OLE “ON 


(qanoouving, fig ‘hanquay yrusaybrug yous) MOOTIO ATAUVW GNV O'TONNO—808 “ON 


Olé 


80€ 


r 
} 


AAA Re RRR RRR fe Re ee 


a a CR as 


Bo 


15: 


Square marble body, with circular porcelain dial; surmounted by a  pyrat 
and supported on molded plinth. Mounted in finely chiseled cuivre do 
with Imperial crown resting on cushion at the top of pyramid, militar 
trophy in front, and supported on body by leonic-headed leaf paw feet, the — 
square body flanked by cupidons, the one at left seated wearing helm and 
carrying a cornucopia of coronets on his knees. At right another is standing 
with laurel wreath over left arm; base with acanthus rinceaux and button 
feet. Dial inscribed: “Rogue a Paris.” ie 
Height, 20 hoe Ms: 


-  312—CUIVRE DORE AND BRONZE CLOCK Louis XVI Period 


Spherical movement, with annular revolving porcelain hour and minute dials; 
surmounted by two cupidons and love-birds amid cloud forms and stars. 
Supported on three Atlantes, central baluster coiled with serpent constitut- 
ing the hand of the clock, and incurved triangular base enriched with spread 
eagles bearing festoons; gadrooned feet. The torsos of the Atlantes are in 
deep rich bronze giving a fine tone to the remaining gilding. 


gy 3° 


Height, 2414, inches. 


313—CUIVRE DORE CARTEL — By Imbert; French Eighteenth Century 


ce 3 Molded drum dial, extending to lattice panels at sides and foot; wreathed 
4, and festooned with beautifully chiseled oak-leaf garlands bearing and tas- 
seled with acorns. Surmounted by a large bowknotted ribbon and festooned 

and fluted vase. Pendented with acanthus and laurel leaved husks. Dia 

signed: Imbert, L’ainé. Height, 24Vy inches. 


Note: The composition shows similarity with a clock in the Louvre and with an- 


other in the Ministére de la Guerre (reproduced in Dumonthier: “Les Bronzes du Mo- — 
bilier National, pl. 25). : 


314—FOUR CUIVRE DORE CANDELABRA Empire Period 


Reeded expanding shaft, with arabesqued capital and leaf base; supporting * 
three scrolled acanthus-leaf arms and central vase for lights. 


py? 


Height, 214 inches. — 


re 


315—CUIVRE DORE CARTEL 


By Causard; French Eighteenth Century 


Circular porcelain dial, set in an elongated cartouche having glazed peep- 
hole toward foot and very broad scrollings of acanthus leaves terminating in 
a patera scroll-bracket husk. Surmounted by laurel-festooned vase. Broad, 
finely chiseled leafage of the very greatest epoch. Dial signed: Causard, 


Her. du Roy, Suiv. La Cour. Height. 2214 inches. 

Note: A clock mounted on an elephant and signed in exactly the same way is in 
the possession of Mr. James Arthur (see F. G. Britten: “Old Clocks and Their Makers,” 
p- 438). Another clock, signed “Causard, Horloger du Roi,” is in the Ministére de la 
Marine in Paris, reproduced in Dumonthier: “Les Bronzes du Mobilier National” (Pen- 
dules et Cartels), pl. 12, fig. 2. In the same work, pl. 25, is reproduced a clock from 
the Louvre showing a similar composition. 


316—TWO BRONZE AND CUIVRE DORE CANDELABRA 
Louis XVI Period, after Clodion 


OF ._ Figure of a chubby Cupidon draped about loins and finished in fine green- 
6° o” brown patina, standing with upraised arms carrying aloft bouquets of cuore 
ue doré lilies, of which four flowers are fitted for candles. On molded drum 
pedestal, enriched with spiral flutings, leaf and pearl motives and cruciform 

feet. 


Height, 36 mches. 


317—TWO BRONZE CANDELABRA Directoire Period 


O° Classic nymph in rich brown-black bronze, bearing cutvre doré scrolled cor- 

»°” nucopia of grapes from which spring three chain-festooned acanthus 

4 branches for lights and at center a coiled serpent beneath a flaming torch. 

On round Alps-green marble plinth, enriched with gilded acanthus-leaf 
moldings. 


Height, 31 inches. 
(Illustrated) 


_318-CUIVRE DORE CARTEL — By Michau; French Eighteenth Century 


6° Circular porcelain dial. Supported by expanding panel set with thermometer 
and enriched with floral motives at sides, surmounted by laurel wreath and 
bird’s nest; pineapple pendant. Signed on dial: Michau a Paris. 


Height, 31 inches. 


Note: The clockmaker Michaud was active about the middle of the eighteenth 
century. 


\) 


(Illustrated) 


6 50° 319—CUIVRE DORE CARTEL Louis XVI Period 


Drum-shaped, with porcelain dial; enriched with leaf and pearl motives and 
open laurel wreath. Surmounted by a lyre device and sprays of acanthus 
leaves; small apron of bracketed fruit and further acanthus leaves. 


Height, 1534 inches. 


Bite) Gadel 


we 


FP PII 
-_ 


a 


a 


PS 


——,. : ay, 
\ ¥ he 


Ray 


RTS 
+O nA wince 


No. 817—TWO BRONZE CANDELABRA (Directoire Period) 
No. 318—CUIVRE DORE CARTEL (By Michau; French Eighteenth Century) 


PHOTOGRAPH 
IN ARCHIVES _O + 
7? 
») é 
» | is 


by 


aq? 320A—MOUNTED CHINESE SANG-DE-BQ@UF VASE 


320—TWO BRONZE AND CUIVRE DORE CANDELABRA 


By Feuchére; French Eighteenth Cae 17 


ries and boldly festooned with roses; leaf-enriched and fluted round | : 
Two green-bronze mermaids, with entwined tails, kneel on the shouldet 
vase and support a bouquet of golden lilies growing from the vase and 
three bobéches for lights. On square dove-gray marble plinth, enlivened 1 
pearl moldings and round button feet. Very richly gilded. Pedest Is 
same. 


Note: These two finely chiseled and modeled candelabra are stamped with tl 


coronet above Eu and numbered 1277 and 1276. They were formerly in the | 
d’Eu. 


Two candelabra of similar shape were formerly in the Jacques Doucet 
in Paris, reproduced in Catalogue, Vol. III, page 22, pl. 232. * 


Fevcuire was a French metal-worker of the second half of the eighteer 
There are several sets of wall lights and a pair of candelabra by him in the | 
Collection in London, (See Molinier: “La Collection Wallace and Illustrate 
logue of Sculptures . . . of the Wallace Collection,” XI, 5-8, and xe 
There are also works by him in the Louvre. 


(Illustrated) 


Bottle-shape; rich cherry-red glaze mottled with blue from mouth 
Mounted in cuivre doré with leaf-molded collar having two lon 
serpents on either side proceeding to body as handles, husk-enriched 
base and fluted plinth having rosettes at corners. 


(Illustrated) 


(sy-6un.y) ASVA ANWEI-AG-ONVS ASANIHO GALNAOW—Vv0zE “oN 


(hanquay yruoaybry youety) AYAHONAA AT VUAVIAGNVO AYO AYAIND GNV AZNOUM OMIE—0ZE “ON 


} ater: 
one 
. 

> 


3208B—CUIVRE DORE AND MARBLE LYRE CLOCK 
By Charles Le Roy; Louis XV. I Perio 


ri Open statuary marble lyre, with fluted oval base and oblong gray marbl 
‘h plinth. Circular movement surmounting the marble lyre. Richly mountet 
in finely chiseled cutvre doré, with laurel wreath encircling movement, fes: 
toons, husks and acanthus scrollings on lyre. Porcelain dial, ee Ch 
Le Roy a Paris. , } 
Heals Yin 


321—TWO IMPORTANT CUIVRE DORE CANDLESTICKS 
By Thomire; Empire | ; 


0. y Winged griffon, seated with wings upright, festooned with medallioned law re 
95 at neck and bearing lily cusped socket on head. Oblong base, enriched w’ 
key-patterned Gaaines Exceptionally fine chiseling and gilding 
cases for same. 
Hagha: 12% 


Note: Pierre Philippe Thomire was perhaps even more virile as a dane 
Gouthiére, and these candlesticks, in pristine state, show to what height the art of 1 


ciseleur had attained, rivaling as it did even the finest craftsmanship of Be te 
century goldsmith. 


(Illustrated) 


BY THOMIRE; EMPIRE PERIOD 
No. 32I—TWO IMPORTANT CUIVRE DORE CANDLESTICKS 


35) 


322 THREE-GRACE CUIVRE DORE CLOCK 


By Lepaute; French Eighteenth Century : 


Garlanded drum movement, with porcelain dial surmounted by cupiaes car-— 
rying a medallion occupied by profile head of Francois I. Supported o 
fluted and columned urn surrounded by three graceful figures of clas 
nymphs, garlanded with flowers. On oblong statuary marble base, enrich 
with laurel and vine motives and button feet. Dial signed: Lepaute, H 


du Roi. The figures after Clodion. a 
Height, 22 inc 


Note: Jean André Lepaute was born at Montmédi in 1709; died in 1789. Famo 
in Paris as a Clockmaker. Was appointed “Horloger du Roi.” Author of an excellen 
“Traité d’Horlogerie,” published in 1760. ; 

In the Jones Collection, in the South Kensington Museum in London, is a fine clo i 
signed ‘‘Lepaute de Belle Fontaine 4 Paris.” Four clocks by him are in the Wallac: ie 
Collection in London. In France there is a great number of them in the Palais de Fon- 
tainebleau; also in the Palais de Compiégne, in the Ministére de la Guerre, in the Mini- — 
stére de la Justice and in the Palais de ’Elysée, Paris; in the Louvre, etc., all rep 
duced in Dumonthier: “Les Bronzes du Mobilier National” Siem et Wega | 


from Clodion’s ae candelabrum supported by the Three Graces in the Lo 
produced in Thirion: “Les Adam et Clodion,” page 322. ; 


BY LEPAUTE; FRENCH EIGHTEENTH CENTURY 


No. 322—THREE-GRACE CUIVRE DORE CLOCK 


0 
5° 
823—TWO CRYSTAL CANDELABRA, MOUNTED IN CUIVRE 
a, po DORE Italian Renaissance 
Finely cut crystal stem, interrupted by cuivre doré cup-like motives, and to- 
wards foot adorned with scrolled heads of cupids. Triangular base, en- 
riched with further heads of cupids, spreading feet and oval medallions of 


crystal. 
Height, 281 inches. 


0 ° 
4° 324—TWO CRYSTAL CANDELABRA, MOUNTED IN CUIVRE 


%, 
DORE Italian Renaissance — 


Similar to the preceding. 
Height, 251% imches 


0) 
oie 
Bd, fo «DORE 
bs 
onetted bobéche, with molded socket. 
one candelabrum. ) 
- , 
}, toe DORE 
Similar to the preceding. 
Ro? v— DORE 


325—TWO CRYSTAL CANDELABRA, MOUNTED IN CUIVRE 


Italian Renaissance 


Finely faceted stem of crystal, interrupted with enriched collars of cuivre 
doré and on the lower, gadrooned oviform motive with scrolled heads of cupi- 
dons. Scrolled spreading triangular base with oval crystal panels. Cor- 


(Small section of coronet missing on 


Height, 381% inches. 


326—TWO CRYSTAL CANDELABRA, MOUNTED IN CUIVRE 


Italian Renaissance 


Height, 371% inches. 


327—TWO CRYSTAL CANDELABRA, MOUNTED IN CUIVRE 


0 : 
q Similar to the preceding. 


Italian Renaissance 


Height, 341% inches. 


qe 
a 


328—TWO CUIVRE DORE ALABASTER CANDELABRA 
Louis XVI Period | 


Tapering square shaft, with molded base supporting cuivre doré basket of : 


flowers having blossoms and buds in porcelain, naturally colored, and three | 
scrolled arms for lights. The shaft enriched with floral appliqués and sup- 
ported on open scrolled basketed dome mounting with leaf scroll and 
paw feet. 


Height, 2114 inches, j 


O° oa 
6° y with emblematic tambourine and wand, Bacchante with ewer, Pan’s pip 
D4 , ae and a tambourine. Each holds aloft a cuivre doré fluted cornucopia of grap 
api from which spring eight acanthus scrolled branches and central branch » 


further grapes, fitted with electric candles. Round pedestal of mottled b 
and gray granite with square base; enriched with large gilded and rib 
wreath of laurel at base. 

Height of candelabra, 45 inches; of pedestal, a7 


(Illustrated) 


18 “dele au Louvre,” page 58, No. 327, 


AFTER CLODION 


No. 329—TWO BRONZE AND CUIVRE DORE CANDELABRA 
AND PEDESTALS 


‘ 
A 
4 
L 
(E 


330—TWO CUIVRE DORE CHENETS Louis XVI Period 


Greyhounds couchant; facing center. Beautifully modeled with firm han- 
4 5 0 dling. On molded oblong plinth, enriched with acanthus-leaved, medal- 


lioned rosettes. On gadrooned feet. — 
Height, 134% inches; length, 1714, inches. 


0) 
30 331—TWO FIRE-DOGS IN CARVED AND GILDED BRONZE a 
French Eighteenth Century, Period of Louis > 4 aa 


The fire-dogs are formed of large fluted volutes decorated with leafage anda 
rocaille. ach of them is ornamented with a statuette, the one at the left 
representing Adonis and the one at the right Aphrodite. They are facing — 
each other with appealing gestures and pose, and floating draperies cover ‘a 
only partly their bodies. = ; Z 


a 


Height, 16 inches; length, 18 inches. = ¥ 


Note: Two similar fire-dogs, ornamented with statuettes of Pluto and Proserpinenmt = 
were ene in the Rodolphe Kann Collection, reproduced in Catalogue, 1907, Vol em 
page 56, pl. 160, and in Emile Molinier: ‘Histoire des Art iqués a Vi icon 
Wels Titrpare' 100, des Arts appliqués 4 Pindustrie,” — 


ak CIEE 7 VA cen gre ante 


B/os 0, 52 Fe 


3° 339 TWO CUIVRE DORE CHENETS 
French KHighteenth Century, Lows XV Period 


-: 
§0., 

J Two ferocious lions, one with forepaw raised on a plumed helmet, the other 

on a Medusa shield. Standing on broadly scrolled and paneled rocaille bases, 

enriched with military trophies. APIA anoles: 


Note: Two chenets showing similarity were formerly in the Kugéne Kraemer Collee- 
tion, reproduced in Catalogue, 1913, Vol. II, page 104, No. 137. 


4 00 * 333—TWO CUIVRE DORE CHENETS Louis Philippe Period 
Laurel-festooned oviform vase, with ram’s-head handles. Supported on fluted 
broken columns. Back irons shaped and enriched with pineapple pinnacles. 

Height, 1814 imches. 


Note: Two chenets showing similarity were formerly in the Eugéne Kraemer Col- 
lection, reproduced in Catalogue, 1913, Vol. II, page 104, No. 1387. 


334—TWO BRONZE AND CUIVRE DORE CHENETS s 
French Eighteenth Century, Period of Louis XV a 
19 a Youthful Ariadne and Bacchus. Lightly draped figures facing toward center a 


and seated on reversed cuivre doré S-scrolls enriched with acanthus leaves 

and rocaille motives. Ariadne has arm upraised as if beckoning her lover. 

Golden green patina. 
Height, 14 inches; width, 13 inches. 


S00, 


335—PAIR OF FRENCH CHENETS Period of Francois Premier 


Figure of a chimeric dragon with long virile pouched neck and breasts having 
small wings at back. Weird minotaur head with open mouth having long 
lapping tongue. Vigorously standing on strongly arched legs with massive 
claw feet. Bold sculpturesque modeling of an exceedingly interesting type 
and period. Rich deep patina. 


Height, 17 inches. 


with a loosely draped and tasseled gilded saddle-cloth; prancing toward center — 


over a rustic tree stump. Supported on cuivre doré serpentine-scrolled and a 
paneled oblong pedestals having open leaf-scrolled corner brackets which con- — 


. . . . ¥ . er | 
tinue into the scrolling feet; the corner brackets sustain at crowns ribboned 
festoons of acorned oak leaves. 


Bought from A. Pick, Vienna. 


w7) 


yo? 


a 
ee 


337—_FOUR SILVER AND ROCK-CRYSTAL LUSTRED WALL 
APPLIQUES Louis XVI Period 


Fluted, half vase-shaped back, terminating in three leaves and emitting at 
crown a bouquet of cut crystal flowers with pear-shaped drops, and series 
of two and three upscrolled arms for lights; elaborately festooned and pen- 
dented with varied faceted and pear-shaped drops. 


Height, 2314, inches. 


338—IMPORTANT LUSTRED OXIDIZED SILVER-PLATED CHAN- 
DELIER : Louis XVI Period — 


400 At crown a graceful open vase of small lustres emits bouquet of cut crystal 

P BI lustres and six scrolled arms for candles also bearing lustres. The vase sup- 
ports with festoons a large-galleried incurved hexagon below, which is also 

festooned from the bouquet of the vase and with further festoons from its 

crowning flowers. The hexagon is fringed with long faceted drops, and s sup- 

ports double arms for lights at corners similarly enriched to the arms at — 

crown. Three chains from the hexagon sustain a lustred galleried bowl ter- 

minated with popes and large cut tt ball pendant. ey ee 


(Illustrated) | : Ee | P “Sa A? 


Lox . : ce | 
3° 339—TWO CUIVRE DORE WALL meee en J 
460 — Louis XVI . : 

Y~ Bust of a nymph terminating in broad acanthus leaves scrolled with m 
leaves and buds at foot. The nymph’s lowered rudimentary arms crol 


upward in the form of acanthus leaves and buds into grape- ‘vine 
fluted candle sockets. ue chiseled. 


>, 


| Height, 


x ‘3 
99909060 HO 9 OOD Er Q>OC 


3 


ire 


e (ec DEO 
on 


No. 338—IMPORTANT LUSTRED OXIDIZED SILVER-PEAFED 


CHANDELIER (Louis XVI Period) 


ile 
#0: 840—FOUR CUIVRE DORE, WALL APPLIQUES Louis XV Period 


Scrolled open rocaille back, enriched with buds and leaves. ‘The scrolls of 
the back continue into three irregularly scrolled arms for lights terminating 


in leaf and bud vase sockets. 
Height, 18 mches. 


341—TWO CUIVRE DORE WALL APPLIQUES Louis XVI Period 


70 . ‘Open ribbon back, bowknotted at crown and about center, where the ribbon 
3 6° supports three floral arms for lights. Richly gilded. | 
Height, 221% inches; width, 10% inches. 


342—IMPORTANT SILVER AND ROCK-CRYSTAL CHANDELIER 
: Lows XVI Period 


ae Hexagonal balustered shaft, in four finely molded sections alternately of 
qy 2 clear and milky white rock-crystal, interrupted by arched bands bearing 
varied stellate shell and pear-shaped lustres; coronetted at crown with stel- = 
late lustres forming a spreading bouquet of flowers. Four cuivre doré straps 
scroll from the balustered shaft into a pear-shape and have candle sockets . 
about shoulders; these are profusely enriched with further and more varied _ 
faceted, stellate and pear-shaped rock-crystal drops occasionally diversified 
by some of smoked crystal, which add another feature of richness. Between 
each of the straps rise three arms following the general contour to about the 
shoulders of the pear-shape and there terminating in candle sockets; these _ 
have rock-crystal pendants in a like manner to the major body. The baluster 
shaft is terminated with a clear crystal ball five inches in diameter. 


Height, 5 feet 8 inches; width, 8 feet 101% inches. 


(Illustrated) 


>. 348—-TWO LUSTRED CUIVRE DORE CANDELABRA AND PED-— 
59 ESTALS Louis XIV Style 


oe Open scrolled seven-branched candelabrum; on round molded base. Lavishly 
+ enriched with finely cut pendent lustres in varied cartouche and pear-shapes, — 
stellated rosettes and drops. Pedestal, with tapering triangular shaft, bas- _ 

ket patterned and scrolled toward crown with acanthus leaves supporting 
leaf-adorned round top. On tripod base, having fine recurring scrollings of 


acanthus leaves and resting on rouge antique marble base. Fitted for elec- : 
tricity. : 


Total height, 9 feet 2 inches. a 


H 436 A Negeri Batbo. J BO. ee: 


No. 342—IMPORTANT SILVER AND ROCK-CRYSTAL 
CHANDELIER (Louis XVI Period) 


---—— = — 


aI 
@ 
7 


EVENING SALE 
THURSDAY, APRIL 5, 1923 


IN THE ASSEMBLY HALL 
OF 


THE AMERICAN ART GALLERIES 


BEGINNING AT 8.30 O'CLOCK 


CATALOGUE NUMBERS 344 TO 435, INCLUSIVE 


ab 


EARLY ITALIAN, FLEMISH AND DUTCH PAINTINGS _ 


FLEMISH SCHOOL 
No. 344 
oe A SMALL TRIPTYCH 


(Panel) 
Center: Height, 1%, inches; width, 5°4 inches 
Each wing: Height, 814, inches; width, 2Y inches 


In the center: “Christ on the Cross.” 
At the foot of the Cross are two of the Mare and St. Tone  Evar 
Landscape background with winding roads, a city and mountains. 


Left wing: “Christ Bearing His Cross.” 
Right wing: “Descent from the Cross.” 
In black and gilt frame. 

Purchased from A. Satori, Vienna. 


Note: Archaistically reminiscent of the art of Albert Bouts. + ho ae ; y 


HOALdIRLL TIVWS V-Pte "ON 
"lOOHOS HSINW TI 


ITALIAN SCHOOL 


FirtEENTtTH CENTURY 


No. 345 


THE MADONNA AND CHILD WITH SAINTS © 
. (A Triptych on Oblong Base) 


(Panel, arched below and gabled above) 
Center panel: Height, 14 inches; width, 642 inches . 
Each wing: Width, 3 inches 44 = 


Peli +3, 
Tur Madonna, seated on a throne in front of a cloth of honor, holds the nian eases 
to her side. In front stands, on the left, St. John the Baptist, who holds a ser ls 
inscribed: “Ecce Agnus . . .”; and on the right, Mary Magdalene with her p 
of ointment. In the gabled upper portion of the painting God the Father is seen. 
On the inside of each of the hinged wings is painted the full-length figure of a male _ 
saint. Presumably that on the left represents St. Paul and that on the right St. 
Bernard. ait isn 


Formerly the property of the Rev. Gerald S. Davies. 


Purchased from René Gimpel, Paris. 


— tS . 
3 EP ts 


ait 
ay 
F 


ee 


tT foe ade Ae 


ITALIAN SCHOOL 
No. 345—THE MADONNA AND CHILD WITH SAINTS 


full-length figures of St. John the Baptist and St. Margaret, and in the right are _ 


EARLY ITALIAN SCHOOL 
(A Small Triptych) 


No. 346 
MADONNA AND CHILD WITH SAINTS 


(Panel) 
Center: Height, 24 inches; width, 10 mches 
Each wing: Height, 24 inches; width, 6 inches 


THE Madonna, standing, presents the swaddled Child. On the left of the Vir- nt 
gin is the diminutive half-length figure of a female Saint holding a palm-branch; 
and on the right is a bearded and saintly Bishop. In the left foreground are small 


St. Anthony Abbot and St. Catherine. In the center, and to the front, are three _ 
Angels. a, 


In the upper portion of this gabled panel, and in a circle, is the Eternal. 


In each of the wings (which did not originally form part of this painting) are six 
Saints placed in pairs in three successive tiers; above these Saints, in each wing, 
is an Angel. 


Formerly the property of the Rev. Gerald S. Davies. 
Purchased from René Gimpel, Paris. 
On the back of the panel is affixed a paper which reads: “This triptych was bought Re i 


me in Florence in September, 1877. It has been much destroyed by cleaning. The process — 
has removed a great deal of colour.—Grratp S. Davies, Charterhouse, Godalming, 1877.” 


EARLY ITALIAN SCHOOL 
No. 346—MADONNA AND CHILD WITH SAINTS 


AY 


ATTRIBUTED TO GIOTTINO: FLORENTINE SCHOOL 


(Fiovurisnep 1360) 


No. 347 


THE PASSION OF CHRIST 
Height, 10 inches; length, 2714 inches 


(Three Scenes, painted consecutively from left to right, represent “The Carry- 
ing of the Cross,” “Christ on the Cross” and ‘The Deposition’) 


On the left, Christ is attended by the three Marys and preceded by two Roman 
soldiers, the foremost of whom carries a red shield inscribed: “S.P.Q.R.”; St. 
Longinus gazes thoughtfully at the figure of the Crucified. 

The feet of Christ, on the Cross, are clasped by Mary Magdalene; on the left and 
right are the Virgin and St. John. 

In the composition to the right the Virgin places her hands tenderly round the 
head of the Saviour; in the foreground and at the back are other figures. 


An oblong panel which was, doubtless, at one time part of a predella. 


A sheet of paper affixed to the back of this panel states: “This picture, evidently of the 
School of Giotto, was bought by me at Arezzo from Vincenzo Funghini, an engineer of that 
town and a collector of antiquities, in May, 1876. It was in much the same state as now, ex- 
cept that there.was much dirt upon it, which was removed by Mr. Henry Merritt shortly — 
before his death in: July, 1877. The picture is painted in tempera on a ground spread thickly 
over a strong cloth. It has evidently formed the gradino of a larger picture. It is possible 
that this picture is the work of Giottino (an opinion in which Mr. Merritt concurred). A pic-— 
ture in the Gallery at Pisa, by an unknown hand, closely resembles it—Grratp S. Davirs, 
Charterhouse, 1877.” 


Evhibited at the Royal Academy, 1880, No. 230, as of the Early Tuscan School. 


Purchased from René Gimpel, Paris. 


EARLY FLEMISH SCHOOL 


No. 348 


THREE VIRGIN MARTYRS 
Each medallion: Height, 17% inches; width, 11% inches 
Over-all measurement: Height, 1434 inches; length, 574 inches 


Eacu has the head turned three-quarters to the left, but not in quite the same 
attitude. Each has long fair hair falling on to the shoulders and holds a palm- 
branch in the right hand. In red and blue robes, cut low at the breast and orna- 
mented with jewels which contain precious stones; the heads nimbed. Each wears 
a four-lobed ornament on the forehead. Each figure is placed in an ovoid medal- 
lion, which has the background patterned with a floriated design. 


SUALUVIN NIOUIA TAMEL—8te ‘on 
IOOHOS HSINGATA A TUVE 


LSIUHO AO NOISSVd HHI—LEE ‘ON 
ONILLOID OL GQULOGMLLY 


HERRI MET DE BLES 
(Known as “CIVETTA”) 
Earty Fiemisn Scuoou: 1480?—1550? 


No. 349 
THE REST ON THE FLIGHT INTO EGYPT 
(Companion picture to No. 350) 


(Panel) 
Height, 34 inches; width, 914 inches 


Tur Virgin, clad in a blue tunic with red sleeves, and an ample white man c 
seated in the foreground; she offers her breast to the Infant. On the ground 
her right side is a basket. Behind her is a wide-spreading romantic land 
with tall trees. Figures approach along a winding road, at the side of which | 
the shattered remains of an idol, which, according to the post-biblical leger 
obeisance. Jurther back are houses by the edge of a lake; in the backgrou 
many figures including mounted soldiers—emissaries of Herod—and a cast 
river on which swans float. In the distance may be discerned a shepherd w 
flock, and farther away a castle on a rocky eminence. Blue sky with setting 


Purchased from the Seventeenth Century Gallery, New York. 


Countess of Radnor and W. Barclay Squire: “Collection of the Earl of Radnor,” 1 
I., No. 180, page 85. % 


Maz J. Friedlinder: “Die Niederlindischen Manieristen,” 1921. 


Max J. Friedlinder: “Die Antwerpener Manieristen von 1520,” in “Jahrb. Pr. Kes. 
pp. 65-91. . ; 


Sir Martin Conway: “The Van Eycks and their Followers,” 1921, page 355 and page 


This picture and its companion are allied stylistically to many pictures of tl 
and notably to a Triptych which was formerly in the collection of the King of Po: 
to a large work which, in the collection of the Earl of Radnor, at Longford, was 
regarded as the outstanding example of the art of Herri Met de Bles. For it was at 
generally agreed that he introduced into his paintings an owl, “Civetta,” as a kit 
manual, notably into a “Salvator Mundi” in the John G. Johnson Collection (No. 
which is, however, to-day placed to the credit of the “Master of the Manzi Magdalene.” 


mseee LY Hil As 


NOWN 


K 


HERRI MET DE BLES 


EGYPT 


TO 


No. 349—THE REST ON THE FLIGHT IN 


productions of his immediate followers are numerous. These are classified by Friedlander 1 te 
five main groups, and several have been assigned to Jan de Beer (1475—1536) and other 

Antwerp Mannerists of about 1520-30. But it is now pretty generally agreed by the | 
vanced critics that the personality, as well as the art of Bles, who takes his name from t 
shock of hair that he grew on his forehead, presents difficulties. Sir Martin Conway, indeed 
now claims that Bles may well have been identical with Henry Patinir, of Bouvignes. 


HERRI MET DE BLES 
(Known as “CIVETTA”) 


Earzty Fiemisu Scuoou: 1480?—1550? 


No. 350 
THE ANN UNCIATION 
(Companion picture to No. 849) 


(Panel) 
Height, 34 inches; width, 91% inches 


Tue Virgin, wearing Her traditional robes, kneels before her prie-Dieu o 
is an open book. On the ground on the left is a vase containing white li 
Above, and farther back, is the Archangel Gabriel, who, clad in blue and 
robes, brings the message while holding in the left hand a baton round v1 
entwined a scroll inscribed with the words: AVE GRACIA PLENA _ 


NUS TECUM. A small oratory triptych is rendered on the dressoir in tl 
background. 


Purchased from the Seventeenth Century Gallery, New York. 


Apparently by the same hand as the panel of the “Annunciation” in the polypt 7 
signed to Herri Met de Bles, which is a later addition to the John G. Johnson Collec 
is reproduced in the Connoisseur, March, 1918, pp. 147-150. i 


HERRI MET DE BLES—Known as “CIVETTA” 
No. 850—THE ANNUNCIATION 


9) 


FLORENTINE SCHOOL 
(A Triptych) 


No. 351 
CHRIST ON THE CROSS 


Center panel: Height, 25 inches; width, 11% inches 
Each wing: Height, 20 inches; width, 5 inches 


Tue figure of Christ is outlined against a gold background. His feet 
suppedaneum. A Cherub and a Seraph on either side catch bloc 
wounds. In the group at the foot of the Cross are the Virgin, St. 
lene, St. John and other Saints and Roman soldiers. Aho the r 
the Eternal seen within a trefoil. - 


On the wings are the Archangel Gabriel and the Virgin. Below ar 
length figures of Saints: those on the left, St. Margaret and St. Cath 
right, St. Nicholas and a Warrior Saint. 

Inscribed along the base: AVE MARIA GRATIA. 


The back of the Triptych is in part cle in the center, a fatty, F 
gules. 


Purchased from René Gimpel, Paris. 


A sheet of paper on the back of the Triptych states: “This Peneyeh was 
in Florence in Sept., 1877. It is in the condition in which I purchased it and has 
never been touched. It is evidently the work of a follower of Giotto. —Gurarp 
Charterhouse, Godalming.” 


FLORENTINE SCHOOL 
No. 351—SMALL TRIPTYCH: CHRIST ON THE CROSS 


nh 


ATTRIBUTED TO PIETRO LORENZETTI 
(Friourisuep 1305—1348) 


352 
THE MADONNA AND CHILD WITH SAINTS AND ANGELS 


Arched panel: Height, 23 inches; width, 131% inches 


Sratep on a high wooden throne, which is gable-shaped at the back, the Virgin, 

in her robes of traditional colors, holds in her lap the Infant, who places the Tings 
on the finger of St. Catherine, who stands on the left. Opposite St. Catherine, 
but on the right side, stands St. John the Evangelist. In front of these Sain 
are seen, facing each other, at the base of the throne, diminutive figures of St. 
John the Baptist on the left, and St. Paul on the right. Below them, in tur 
stand in the foreground St. Anthony (with crutch) on the left, and St. Chris-— 
topher (with the Child and palm tree) on the right. In the center foreground 
kneel two musical Angels. Above, and at the back of the throne, are two winged 
Seraphim. Plain gold background. 


Purchased from René Gimpel, Paris. 


To the back of the panel is affixed a letter (which is now partly torn), signed by the Rev. 
Gerald Davies, Master of the Charterhouse, which states: “This picture was purchased by me — 
in May, 1876, at Arezzo from Vincenzo Funghini, an engineer of that town. The original — 
frame had been wrenched from the panel and had, to judge from the marks, been of rie a 
Gothic pattern. In bringing it home the panel got split down the middle. I placed it: in the 
hands of Mr. Merritt, who mended the broken panel and replaced the detached fragments. 
wonderful instance of . . . faithful restoration. . . . It is evidently by a good 
master of the Sienese School. . . .” oe 


Another letter from the same collector, written in 1917 from the Master’s Lodge, 
terhouse, says: “After much consideration I am of opinion that this work is from the 
of Pietro Lorenzetti. I can find no master whose work it resembles so closely. It has 
been touched in any way, not even taken out of its frame since it left the hands of ‘He 
Merritt 40 years ago.—Grratp S. Davies.” hes’ 


ATTRIBUTED TO PIETRO LORENZETTI 


No. 352—THE MADONNA AND CHILD WITH SAINTS 
AND ANGELS 


SCHOOL OF ORCAGNA 


353 
THE CORONATION OF THE VIRGIN — 


(Arched Panel) 
Height, 30 inches; width, 21 inches 


# 
¢ 


Wrrutn a mandorla, or almond-shaped glory, set in a sky of burnished 
see Christ and the Virgin seated side by side. Above them are two 
between whom are two Seraphim whose ‘nee are deployed. 


In the upper portion of this composition, but outside the niente 
twelve musical Angels, six on either side, who are repr esented with a e 
keyed organ, bagpipe or zither. : . 


Arranged in three tiers in the lower portion of the painting are male 
to the front, female Saints. On the left are St. Paul, St. John th 
St. Anthony, St. John the Evangelist and St. James; and among 
right, we may note St. Francis, St. Peter, St. Bartholomew and two o 
cluded among the female Saints in the immediate foreground, which is 
carpeted with foliated patterns which extend a long way back and is 
for its strange perspective, are Saints SRE, Hee Me 
Hungary and Margaret. 


Formerly the property of the Rev. Gerald S. Davies. 


Purchased from René Gimpel, Paris. 


NA 


SCHOOL OF ORCAG 
353—THE CORONATION OF THE VIRGIN 


No. 


(6) 
4, 0° 


PAOLO VERONESE (1528-1588) 


VENETIAN ScHOOL 


No. 354 ab, 
THE MADONNA AND CHILD WITH SAINTS — 


+ 


(Canvas) 
Height, 2144 inches; width, 29% inches 


Tue Virgin is seated in the center, and holds the » Infant Chive an 
turns toward St. Catherine who, dressed in the robes of a Princess \ 
els and holding a palm branch in her right hand, kneels to the ‘ight 
position. In the left center, the Infant St. J ohn clasps the Child’s 
On the extreme left is St. Elizabeth, who kneels before and. rests her 
cradle. Architectural bucliaeroads dark sky in the center. 


Formerly sold at Christie's, London. 


Purchased from Richard Owen, Paris. 


“An autograph work by Paolo Veronese painted in his earlier years. It i 
and has much calm distinction. . . . Autograph paintings by Veronese 
so numerous as is supposed. Cabinet pictures by him are few.”—Mr. Berenson | 


PAOLO VERONESE: VENETIAN SCHOOL 
No. 854—THE MADONNA AND CHILD WITH SAINTS 


i oes 


BARTHOLOMEUS BRUYN (1493-1553?) 


GERMAN ScHOOL 


No. 355 
PORTRAIT OF A LADY 


(Companion picture to No, 356) 


(Panel) 
Height, 20% inches; width, 9 inches 


Seen at rather more than half-length; turned three-quarters to the left. 
a black dress with red sleeves, a white chemisette and a white fur 
from her white head-dress streamers fall on to her shoulders. She has 1 
her fingers; in her right hand she holds a carnation; and her left rests on 1 
before her. Red architectural setting. In the background to the left 
seen in front of a tall building; hills in the right distance. a 


Purchased from the Seventeenth Century Gallery, New York. 


Ae 
ae eee 


Probably to be dated about 1535 and recalling the type of portrait, by B 
is seen at Frankfort, Brussels and elsewhere, and in which a lady usually holds in 


seh 


hand a carnation in full bloom to denote her engagement. Yet a certain number } 
traits have been ascribed to the Master of the Lower Rhine. 1a 


BARTHOLOMEUS BRUYN (1493-1553?) 


GERMAN ScHooL : 


: No. 356 ieee oe 
PORTRAIT OF A GENTLEMAN : i 
(Companion picture to No. 855) 


(Panel) 
Height, 201% inches; width, 9 inches 


RatTuHeER more than half-length, and turned three-quarters to the right. 
dress with full sleeves; white under-shirt, round, soft black cap. The fii 
right hand rest on a table; the left-is raised. Red architectural setting. — 
background is a romantic landscape, with a castle set at the foot of a hill. ; 


Purchased from the Seventeenth Century Gallery, New York. 


BARTHOLOMEUS BRUYN: GERMAN SCHOOL 


No. 855—PORTRAIT OF A LADY 
No. 356—PORTRAIT OF A GENTLEMAN 


LORENZO DI CREDI (1459-1537) 


FLORENTINE ScHOOoL 


No. 357 
PORTRAIT OF A YOUNG MAN 


(Panel) 


Height, 18 inches; width, 14 inches 


SrEN at half-length, the body turned to the left but the eyes directed to the 


loosely over his left shoulder. His right hand grasps the drapery, but his 
with the forefinger extended, points outward to some person or object thi 


running down to a winding river and, beyond it, trees and mountains. In th rig 
background, and immediately behind the young man’s head, is a pomegranate t 
Jaden with fruit. 


Mireur: “Dictionnaire des Ventes d’Art,” 1912, Vol. VII, page 12, under date of Apr 
1866. at not 


Purchased from Messrs. Gimpel & Wildenstein. 


In the collection of the Comte de Janzé, in Paris, in 1867, it passed into that o ee 
bal. In 1870 M. Timbal sold by far the greater part of his collection to M. Gustave Dreyfi 
and only retained a very few works, and the majority of them he bequeathed to the Lo 
M. Dreyfus, however, retained this picture for his friend, M. de Bernutz, and 
passed out of the possession of Madame de Bernutz to Messrs. Gimpel & Wildens 
1917 into this collection, 


Here, as in Lorenzo di Credi’s “Portrait of a Lady” (1714" x 1234") in the co 
Mr. Otto H. Kahn, there is a general similarity of design and clear observation. " 
of each picture seems to be missing. ; . » Sea 


In 1917 Mr. Berenson wrote of this portrait as follows: “It is an autograph p: 
Lorenzo di Credi and worthy to rank with his best works. It is a branch in which h : 
and Vasari makes special mention of his portraits of young men.—I can’t help thinking th 
this portrait must have had as pendant the Portrait of a Young Woman—the bride of tl 
bridegroom. He points to her with one hand, and with the other to himself and the - 
granate bush behind him. The pomegranate was the Christian symbol of fecundity.” 


eee ae eee ee ee ee ese ene “Ee 


‘ 


a "} 
ASSES ELE OE 


LORENZO DI CREDI: FLORENTINE SCHOOL 
No. 357—PORTRAIT OF A YOUNG MAN 


a 


SPANISH SCHOOL 


SEVENTEENTH CENTURY 


| 358 | 
ST. LAWRENCE, ST. DENIS, ST. SEBASTIAN AND ST. 
Height, 7 feet 4 inches 


A FOUR-FOLD wood screen, painted with full- ‘length figures with 3 
the name of each is inscribed above. 


1. St. Lawrence. In Deacon’s robes and phages the gridiron in his 


~ 


2. St. Denis. In ecclesiastical robes aa with ee crozier; he holds in | 
his own bearded head. 


3. St. Sebastian. In fine raiment; his rigne hand on his sword, ar OW 
hand. 


4. St. Barbara. She holds the martyr’s nalitberagene in the right hai 
hand a book, and on it her emblematic tower. 


In carved Gothic frame. 


VUVauva LS 
GQNV NVILSV@as LS ‘SINAC \LS “AONAUMV'I \LS—8gE “0 


N 
AYVOINAOD HINHAUINAAWS ‘TOOHOS HSINVdS 


ENGRAVINGS IN COLORS 
OF THE 
EARLY ENGLISH AND FRENCH SCHOOLS 


WILLIAM WARD, A.R.A. 
EncutsH Encraver: 1766—1826 


g0°’ 359 SELLING RABBITS 
(Mezzotint Printed in Colors, 1809) 
Height, 17°4 inches; length, 231% inches 


Interior of thatched barn, lined at left with rabbit hutches; before them a 
child and a peasant woman in red coat chaffering for a rabbit with the elderly 
owners. ‘Two little girls are before a dog kennel, while the farmer’s son, 
about center, exhibits a black rabbit to them. In inlaid satinwood frame. 
Mezzotint after James Ward, R.A. Fine impression. 


See Julia Franken, “James and William Ward,” page 257. 


WILLIAM WARD, A.R.A. 
Encuiso Encraver: 1766—1826 


359s—THE CITIZEN’S RETREAT 


900 (Mezzotint, Printed in Colors, 1796) 
Height, 17°4 inches; length, 231% inches : 


An elderly man in blue coat and wig sits contentedly smoking his pipe before 
a thatched cottage. His daughter surrounded by her children is feeding 
fowl in a peaked crate in the foreground. In inlaid satinwood frame. Mez- 
zotint after James Ward, R.A. Fine impression. 


See Julia Franken, “James and William Ward,” page 169. 


EC EN aN and 1 PISO BNI alse: 


15, Veatieiig wiltret v 


aaa - 


WILLIAM RYLAND 


EncusH Encraver: EIGHTEENTH CENTURY 


360—CYMON AND IPHIGENIA 
(Printed in Colors, 1782) 


Circular, 1144, mches 


js © 


“The Fool of Nature Stood with Stupid Eyes.” The fair Iphigenia slumber- 
ing near two nymphs in the foreground of a romantic landscape. Cymon, the — 
shepherd, gazes at her aghast at her beauty. By Ryland. Framed. | 


THOMAS BURKE 


Encusn Encraver: Eicorrentru Century 


360a—J UPITER AND CALISTA 
(Printed in Colors, 1782) 
J? ok; Circular, 1114, inches 


Jupiter, disguised as the chaste Diana, seated under a rock, makes love to 
the fair Calista; a knavish cupidon ts partially seen at right. “Diana’s shape 
and habit straight he took . . . ” Appison. By Burke. Framed. Fine 
impression. 


LOUIS MARIN BONNET (MARIN) 


1793 


Frencu Encraver: 1748 


361—THE MILKWOMAN 
(Printed in Color, 1774) 


Oval in own colored mat: Height, 11 inches; width, 9 inches 


Half-length of a pretty peasant girl in red waist and lawn cap; seated with 
her left hand on her brass milk can. Framed. Fine impression. 


Note: Louis Bonnet, often known as Marin, copied the crayon designs of Boucher, 
in the imitation of which he sometimes even surpassed Demartin. He invented what 


may be termed pastel engraving and also the art of printing in gold. See Bourcard. 
Invented and engraved by Bonnet. 


LOUIS MARIN BONNET (MARIN) 


Frencu Encraver: 1743—1793 


3614—THE WOMAN TA KING COFFEE 
(Printed in Color, 1774) 
Oval in own colored mat: Height, 11 inches; width, 9 inches 
pe" 
Bust of a Court Beauty pouring her coffee into a saucer to cool; she wears a 
blue dress. Framed. Fine impression. 


Note: Louis Bonnet, often known as Marin, copied the crayon designs of Boucher, 
in the imitation of which he sometimes even surpassed Demartin. He invented what 
may be termed pastel engraving and also the art of printing in gold. See Bourcard. 
Invented and engraved by Bonnet. 


LOUIS MARIN BONNET (MARIN) 
Frencn Encraver: 1743—1793 


362—THE MILKWOMAN 
0° (Printed in Color, 1774) 
)3 Oval, in bun-colored mat: Height, 11 inches; width, 9 inches 


Half-length of a pretty peasant girl in red waist and lawn cap; seated with 
her left hand on her brass milk can. Framed. Fine impression. 


Note: Louis Bonnet, often known as Marin, introduced pastel engraving and ¢ 
invented the art of printing in gold. 


362a—THE WOMAN TAKING COFFEE 
(Printed in Color, 1774) 
Oval, in bun-colored mat: Height, 11 inches; width, 9 inches 


q) 0. Bust of a Court Beauty pouring her coffee into a saucer to cool; she x 
blue dress. Framed. 


Note: Louis Bonnet, often known as Mache ravodecan pastel engraving and 
invented the art of punting in gold. 


PHILIBERT LOUIS DE BUCOURT 
Frencu Encraver: 1755—1832 


3683—LES DEUX BAISERS 
(Printed in Colors, rea 
ee 10°4 inches; length, 1414 inches 


the painter to Ee 


Note: Engraving in pastel manner after the engraver’s own desicua N 
Fenaille, No. 7. Third state. Unusually fine impression, printed withens 
Extremely rare in this condition. 


From the famous Halsey Collection, No. 245. 
(Illustrated) 


AMBROY ORIO 
Travian Encraver: Ericureenta Century 
364—THE SORROWS OF WERTHER 
(Print Colored by Hand) 
70 . Circular, 9 inches — 


Werther seated, in red coat near a spinet, a child at his knees trying i 
his attention. A fair maid is entertaining him with music. In inlaid 
wood frame. 


Note: Painted by Angelica Kauffmann after Goethe’s visit to her in Rome. ee 


SUHSIVGa XNA SH'T—E9E ON 


LYNOoNd Ad STNOT LYAaITWHd 


FR TL TE ETT 
ee OE SEE A + PAPO RRM 9 AACS SBN 


The Cerin : 


Duy poeta 


LOUIS MARIN BONNET (MARIN) 


Frencu Encraver: 1743—1798 


365—THE CHARMES OF THE MORNING 


(Printed in Color, 1776) 
30 0: Oval in own colored mat: Height, 11 inches; width, 9 inches 


Three-quarter length of a beautiful young woman standing at her toilet in the 
early morning. Framed. Fine impression. 


Note: Louis Bonnet, often known as Marin, copied the crayon designs of Boucher, 
in the imitation of which he sometimes even surpassed Demartin. He invented what 


may be termed pastel engraving and also the art of printing in gold. See Bourcard. 
Invented and engraved by Bonnet. . 


FRANCOIS JANINET 


Frencu Encraver: 1752—1813 


366—NINA, OU LA FOLIE PAR AMOUR 


e GO°. 


Height, 121% inches; width, 914, inches 


A young gir] attired in ivory silk frock is seated on a garden bench before a 
wooded landscape, waiting for her lover. Engraving in gouache-manner 
after Cl. Houin. Portalis and Beraldi No. 35. First state. Proof before 
all letters, but with the engraver’s name traced with needle only. Printed 


in colors; margin trimmed to plate line. Small insertion in upper margin, a 
slight tear also repaired. 


Note: He seems to have introduced color printing into France. ‘With them (the 
best plates of Janinet) may be ranked the clever print in which Janinet reproduced the 
portrait of Madame Dugazon by C. Houin as ‘Nina.’ ”—Lapy Dike. 


From the famous Halsey Collection, No.482. 


FRANCOIS JANINET 


Frencu Encraver: 1752—1813 ; 2 d 


367—LA COMPARAISON 
(Printed in Colors, 1786) 
Height, 14 inches; width, 11 inches 


Two young women wearing ivory morning ‘robes, one standing, the other sit- x 
ing, are comparing their varied charms. Framed. 


Note: Engraving in gouache after N. Lavreince. Portalis and Beraldi, No. 40 es: 
E. Bocher, No. 12. Third state. Impression with inscription, but lacking address. 


From the famous Halsey Collection, No. 484. 


FRANCOIS JANINET 


Frencu Encraver: 1752—1813 


368—L’INDISCRETION 


ee 


(Printed in Color, 1788) 
Height, 14 inches; width, 11 inches 


A girl visitor, to an agitated younger girl, seated and wearing a cream-white 
dress, has taken from her friend a letter of considerable moment to the owner. 


Note: Engraving in gouache manner after Lavreince. Portalis and Beraldi, No. 
41; E. Bocher, No. 31. Second state. Proof before all letters, but with the en- 
graver’s name traced with a needle. The girl seated shows her left foot and two curls 
are added to her hair. With margin, but lacking plate line. Lady Dilke says of 
“LIndiscrétion”: “Is not only one of his best, but one of the last among his work.” 


From the famous Halsey Collection, No. 485 in the Catalogue, of which it was stated: 
“The finest impression offered in the past fifteen years.” 


EIGHTEENTH CENTURY FRENCH DRAWINGS AND 
PASTELS 


No. 369 
FRANCOIS BOUCHER 


Frencu: 1703—1770 


THE LOVERS 
4 ge (Chalk and Pencil Drawing) 


Oval: Height, 10 inches; width, 8 inches 


A YOUTH seen at half-length standing before an overgrown wall of a chateau, is 


near a maiden who carries a basket of eggs, from which he tries to pilfer. A tthe 
lad at left is amused at the attempt. ui 


5 
oe 


(Companion to the following ) 


No. 370 
FRANCOIS BOUCHER 


Frencu: 1708—1770 


GIRLS WITH BIRDCAGE 
ee (Chalk and Pencil Drawing) 


Oval: Height, 10 inches; width, 8 inches 


Two young girls, one seated, the other standing, before an empty cage, have their 
pets perched on their hands evidently comparing the singing qualities of the 
birds. 


(Companion to the preceding) 


No. 371 


- 
* 


SCHOOL OF DE LA TOURSa Xe 


‘ie PORTRAIT OF A LADY 
(Pastel) ‘ 
“Height, 17 inches; width, 14 inches 


- Busr length, to the front, her head slightly inclined. Wearing 
blue and white flowers in her hair, flowers at the breast. In a | 
with a pink ruche with thin blue stripe. Large triple earrings | 


s 


SCHOOL OF DE LA TOUR 


No. 371 


—PORTRAIT OF A LADY 


at 


if 


oe hes dae (Pastel) (ee 


Nox See. 


SCHOOL OF FRANCOIS BOUCHER 


(Born in Paris in 1703; died there in 1770. Pupil of Frangois Lemoi 
influenced by Watteau.) _ 


PORTRAIT OF A YOUNG LADY — 
(Attributed to Francois Boucher) — 


Height, 1584 inches; width, 12 inches 


a blue pillow and is acnaed to her left shoulder. Her eyes ante ni 
and she seems profoundly asleep. Her hair is arranged in twists a1 
and flowers are in her head near her right ear. She wears a gown 
and over it is a striped shawl. A ribbon is around tee 


others it is et intonetate to compare it with a eae is Reakes » FOr 
Doucet Collection, reproduced in Pierre de Nolhac: “Francois Boucher,” page | 
senting “Jeune Fille & la Colombe.” aie. 


ba cz: 
se Wo GF 


SCHOOL OF FRANCOIS BOUCHER 
No. 372—PORTRAIT OF A YOUNG LADY 


10° 


wes Height, 17 inches; width, 13% inches 


No. 373 


JEAN MARC NATTIER 


Frencu: 1685?—1766 


(Pastel) 


Bust length, to the front, the head turned three- -quarters to the right, «4 
cut dress, with light blue corsage and white sleeves. A blue bow round he 
her straw hat trimmed with blue bows. She was the wife of Mari 
Gramont, Marquis de Vachére. 


Collection 2 Se de Gramont, Duc de Caderousse, and sold February 
Subsequently. in the collection of Jacques Poulze dIvry de la Foype. | 
Purchased from ‘Gimp & Wildenstein. 

oe Marc Nartier: Born in Paris in 1685; died there in 1766. eee 


the French Court; painted also for the Russian Court. The most extensive ( 
paintings is to be found in the Palais de Versailles. 


Gh Ge 


”, = 


* 


JEAN MARC NATTIER 
373—-PORTRAIT OF MADAME LOUISE MARIE GOUTHIER 


oO 


N 


; No. 374 


JEAN MARG NATTIER 


Frencu: 1685—1766 


PORTRAIT OF A COURT BEAUTY 
(Pastel) 


0) Py K ; ‘ ; 
q y Height, 16 inches; width, 13 inches 


Bust length, turned three- quarters to the left, and her head | in 
cut black dress, trimmed with lace; blue bows in her powdered hai 
her neck. *s 


Purchased from Gimpel & Wildenstein, 


erie 


paintings is to ie found 3 in the Palais de Versailles 


JEAN MARC NATTIER 
No. 874—PORTRAIT OF A COURT BEAUTY 


375 


CHARLES ANTOINE COYPEL 
Frencu: 1694—1752 


PORTRAIT OF A LADY 
(Pastel) 


Height, 16 inches; width, 13 inches 


Bust length, facing to the front, the eyes turned toward “he ene 
pearls round her neck, in her ears and in her powdered hair. A biue 
her hair falls down on to her shoulders. 


. 


Collection of M. de Fowviennes. 


Cuartes Antone Coyper: Painter and engraver. Born in Paris in 1696; 
in 1752. Pupil of his father, Antoine Coypel, whom he succeeded in his offici 
“Premier Peintre” to the King, and as Director of the Academy and of the 
and Designs. He was a very versatile artist. He executed, outside of religious. 
logical canvases, many portraits in oil and pastel. He also decorated many 
the Chateau de Versailles and made cartoons for a great number of tapestries 
traits executed by him there are several in the Louvre, one of Adrienne Le 
Countess de Boulaincourt Collection; one of Guillaume Aubourg and his wife in t 
Levasseur Collection, etc. Coypel also executed the portraits of Louis XV, of | 
Orléans, of Moliére and other famous personages. 


CHARLES ANTOINE COYPEL 
No, 375—PORTRAIT OF A LADY 


Hl 


EIGHTEENTH CENTURY FRENCH PAINTINGS 


No. 376 


JEAN BAPTISTE JOSEPH PATER 


Frencu: 1696—1736 


A PASTORAL SCENE 
(Canvas) y 
Height, 1614, inches; width, 1316 inches 


(Companion to the following) 


In a summer mene bounded on the left by a term and on the right b . 
beneath the trees, a group of six persons are frolicking. On the right a lady, 
ing a white satin dress, is playing on a musical instrument. More to the 
by her side, kneels a man who is dressed in gay attire and knee-breeches. ; 
ground, between his legs, is a small dog. Behind the two principal figure 
a pierrot. In the background to the left are a young man and a’ girl 
man. Blue sky. 


Purchased from Gimpel & Wildenstein. dp. le : 


Note: This and the following picture are very typical of Pater’s work, the pa 
excellence of the “Fétes Galantes.” It is interesting, among others, to compare them y 
Pastoral” in the Sir Edgar Vincent Collection, and with another in the Buckingham I 
both reproduced by Eugéne Langevin in J, J. Foster’s “French Art from W. 
Prud’hon,” Vol. II, pages 51 and 56. 


Jean Baprtisre JosepH Pater: Born in Valenciennes in 1696; died in Paris 
Pupil and imitator of Watteau. Some of his best works are to be found in the Ro 
sian Palaces; there are also a number of them in the La Caze Collection in the 
Buckingham Palace, in the Wallace Collection and elsewhere. 


‘ 
4: % 
, 


4 


JEAN BAPTISTE JOSEPH PATER 
No. 376—A PASTORAL SCENE 


$ 


ua 
A 


No. 377 


JEAN BAPTISTE JOSEPH PATER 


_ FRENCH: 1696—1736 


A PASTORAL SCENE 
(Canvas) 


Height, 16 inches; width, 13% inches — 


(Companion to the preceding) 


A Group of five figures in a garden in summer time. Seated in the 
a tree, and wearing a white silk dress with white and pink corsage, is a 
She is holding a music score and turns to the right toward a blue-clad f 
on the ground at her feet, and more to the left, is another musician, ¥ 
in pink and holding his flageolet, has his back turned to the spectator. 
back, in the middle distance, is a young lady, in bluish-yellow dress and 
a blue hat, who is accompanied by a young gallant; he has a red cloak 
shoulder. ‘They are about to walk away into the glade which is revea 
right background. 


JEAN BAPTISTE JOSEPH PATER 
No. 877—A PASTORAL SCENE 


} 


No. 378 


NICOLAS LANCRET 


Frencu: 1670—1743 


THE IMPRISONED alte 
Ghayae 


Height, yy inches; length, 141 inches 


On the right, under a tree in a park, a young woman is sitting on a hillock | 
She wears a yellow dress, with pink sleeves, and a light apron. Her he 
toward the left, as she makes a feint of opening, with her right han the 
a wicker-work bird-cage, from which the ‘ ‘imprisoned” bird is seeking 
She is ready to seize the little creature in her left hand. | On the le % 


let which he hgs just been playing. 
Formerly im the el cor a of Lucien Surman, Pie ine sold Mag 11, 1912, N 


Purcpaicd from Jacques Seeman 


Note: A different version of the same picture by Laneret, salted “The Bi 
is in the collection of the German Emperor and is reproduced by Eugéne ] 
Foster’s “French Art from Watteau to Prud’hon,” Vol. I, page “8623 


Nicoras Lancrer: Born in Paris in 1690; died there in 1743. Pupil a 

in whose atelier he worked together with Watteau, whom he imitated very cl y. 

by him are to be found in the Louvre, in the Wallace Collection in London, in Chan il 
National Gallery in London and elsewhere. 

’ 


NICOLAS LANCRET 
No. 378—THE IMPRISONED BIRD 


379 


NICOLAS LANCRET 


Frencu: 1690—1743 


A CONVERSATION PIECE (“LES DEUX AMIS?) 


(Canvas) 


Height, 11 inches; width, 15 veka: 


A croup of three persons, seen at full length in a summer landscape. 

is a young lady, wearing a blue and white striped gown; she is seated on 
neath a tree. More to the right a young gallant, in red attire, has his 
her chin. Another gallant, taller and rather older, wearing knee-breeche 
white-lined sleeves, nduanees to address the seated pair. AN ppena as o1 
with a vista of spreading landscape. Blue sky. : 


Engraved by Nicolas de Larmessin. 

Mentioned in “Bocher” and in “Eloge de Lancret” by Ballot de Souk 
Exhibition Sale, 1739. 

Collection de la Nene 1858. 

Collection Marquis de Crillon. 

Collection Duc de Polignac. 


Note: This picture is mentioned as an authentic work by Lancret, by Eugene ang 
in J. J. Foster’s “French Art from Watteau to Prud’hon,” Vol. I, page 151. ; 


Nicotas Lancrer: Born in Paris in 1690; died there in 1743. Pupil of Claude 
in whose atelier he worked together with Watteau, whom he imitated very closely. — 
by him are to be found in the Louvre, in the Wallace Collection in London, in tao 
National Gallery in London and elsewhere. 


NICOLAS LANCRET 
No. 879—A CONVERSATION PIECE (“LES DEUX AMIS”) 


No. 380 


MADAME. VIGEE-LEBRUN | 


Frencu: 1755—1842 


PORTRAIT OF THE MARQUISE DE FONTENOY DE _ 
(Canvas—Oval) = 


Height, 25 inches; width, 21 inches” 


Hatr-Lenctu figure, dressed in brownish-blue, and wearing a wh 
She is seated in a chair, with her back turned to the spectator. She tur 
over her left shoulder. A fillet in her hair, which falls down on to 
Blue background. ahs 


Mentioned in the work by Pierre de Nolhac on Madame Vigée-Le Brun (. 
figured at the “Exposition Rétrospective Féminine” in. +1908. qt - 
collection of Mr. Féral. 


Le Brun (Euisazern-Lovuisze Victr): Born in Paris in 1755; died in 
painter of Marie Antoinette and her court. Active also in Vienna, D1 
St. Petersburg. P 


MADAME VIGEE-LEBRUN 


No. 880—PORTRAIT OF THE MARQUISE DE FONTENOY DE 
CHATENAY 


oo. 


No. 381 


“FRANCOIS BOUCHER 


Frencu: 1703—1770 


THE SHEPHERD BOY (“LE PETIT BERGER” ) 
(Canvas) 


Height, 21% inches; width, 191/, inches 


legs. In the middle Aictance. and on lower ground, are a flock of oo. 
beyond. 


Jacques de Causon, 
Said to have been engraved by Duflos. 
Mentioned by P Michel: “F, Boucher,” page 87, No. 1558, as “Le Petit ‘Berger ud Ossi 
contre un arbre”; said to have been included in a sale on April 29, 1892 an he d 


to be the pendant toa “Petit Jardinier.” 


Purchased from S. J. Frank, New York. 


Francois Boucuer: Born in Paris in 1703; died there in 1770. Pupil of Frangc 
Lemoine and influenced by Watteau, whose paintings and drawings he often etche 
ceeded Van Loo in 1765 as “Premier Peintre du Roi.” 


FRANCOIS BOUCHER 
No. 3881—THE SHEPHERD BOY (“LE PETIT BERGER’) 


7 
‘ 


No. 382 


FRANCOIS BOUCHER 
Frencu: 17038—1770 


pe ‘ AUTUMN (“LES DELICES DE L’AUTOMNE” ) 
1 (Companion to the following) 
(Canvas) 
Height, 20 inches; width, 28 inches 


A youTuHFrutL shepherdess, in a white dress and a straw-hat trimmed with pink, is 
seated beneath a tree; she receives an offering of grapes and flowers from a 
young man, who is on the right and kneeling. More fruit and flowers are in 
another basket near his hat in the right foreground. : Se 


From the collection of the Vicomte Gabriel Chabut. 
Purchased from S. J. Frank, New York. 1 ae 


These works recall the much larger canvases by Boucher entitled “The Shepherd Watch- 
ing” (No. 385) and “The Shepherd Piping” (No. 399), signed and dated 1745, in the Wal- 
face Collection, London. (See the catalogue of 1913, and see A. Michel, **F. Boucher,” page 
104.) They more closely resemble the famous set of four compositions entitled “Les Charmes _ 
du Printemps,” “Les Délices de ’Automne” and “les Amusements de l’Hiver” which we 
painted by Boucher for Madame de Pompadour. The master in these works (which measu 
the same as these two) produced an ewvre capitale, in which he displayed with brilliant suce 
the infinite resources of his talent. That set, signed and dated 1755, was engraved by 
Daullé and dedicated to “Madame de Pompadour, dame du Palais de la Reine.” After her 
death they passed to her brother, the Marquis de Marigny, and appeared in his sale. They — 
later passed to Madame Ridgway, and were in time included (Nos. 4, 5, 6 and 7) in the s 
of her effects in Paris, December 8, 1904. They are dealt with by A. Michel, “F. Boucher 
page 88, and illustrated in Les Arts, March, 1905; also they are mentioned by Pierre de N 
hac, “F. Boucher,” 1907, page 150. The set of four is now in the collection on by 
H. C. Frick, of New York. But they do not overshadow this pair. ; 


Francors Boucurr: Born in Paris in 1703; died there in 1770. Pupil of Frangois 
Lemoine and influenced by Watteau, whose paintings and drawings he often etched. He si 
ceeded Van Loo in 1765 as “Premier Peintre du Roi.” 


FRANCOIS BOUCHER 
No. 382—AUTUMN (“LES DELICES DE L’AUTOMNE”) 


No. 383 


FRANCOIS BOUCHER. 


Frencu: 1703—1770* 


‘SPRING (“LES CHARMES DU PRINTEMP: 
: (Companion to the preceding) 
\e ae 


61 


(Canvas) 


Height, 21 inches; width, 29 inches 


A airt, wearing a voluminous yellow skirt and low-cut whi 
a garden. A boy, dressed in light blue, and having a pin 

ders, binds flowers in her hair. On the left, by the b boy’s gk 
classical landscape i in the distance to the right. 


FRANCOIS BOUCHER 
SPRING (“LES CHARMES DU PRINTEMPS”) 


No. 383 


No. 384 


JEAN HONORE FRAGONARD 


Frencu: 1732—1806 


THE HAPPY FAMILY (“L?7HEUREUX MENAGE” ) 


ce (Canvas—Circular) 


Diameter, 13 inches ~~ 


) 1" 


AN interior with three figures. Dressed in yellow and wearing knee-bre 
father is lying almost at full length in an armchair. He is being cai 
small child who, in a white dress with a red belt, is clambering up his body. 
left the fair-haired mother, dressed in blue, leans against her husband’s che 
regards the child tenderly. On the right is a ae and a er with its v 
extended. % a ee 


Didot Sale, April 3-5, 1825, No. 136. 

Dubois Sale. 

Otto Mundler Sale, November 27, 1871. 

Comte Hondetol Sale, May 9, 1859. 

Mend im de Goncourt’s “L’ Art au XVIIIeme Siécle.” 
Mentioned in Pierre de Nolhac’s “Fragonard.” 


Jean Honoré Fraconarp: Born at Grasse in 1732; died in Paris in 1809. 
of Chardin, then of Boucher. French School. 


JEAN HONORE FRAGONARD 
No. 884—THE HAPPY FAMILY (“I7HEUREUX MENAGE”) 


No. 385 


JEAN HONORE FRAGONARD 


Frencu: 1732—1806 


PORTRAIT OF LE CHEVALIER DE BILLAUT 
1 i ' : (Canvas) 
( 2, 


Height, 211% inches; width, 18 inches 


Bust-Leneru, turned three-quarters to the left. In gay attire, sea 
and resting his left arm over the back of it. Of about middle age, 
powdered. . 


From the collection of Vicomte Gabriel Chabut. 
Purchased from S. J. Frank, New York, 1916. 


Inscribed on the back of the canvas: “Portrait du Chevalier de Billaut, 
régiment de Malwil, chevalier de St. Louis; peint par Fragonard, 4 M. le 
This inscription is thoroughly accepted by Pierre de Nolhac: “Fragonard,” 1 
it is to be also identified with the portrait included in the J. Lassalle Sale, 
Drouot, Paris, December 16, 1901, No. 13. “3 


Jean Honoré Fraconarp: Born at Grasse in 1782; died j in Paris in 1806. 
of Chardin, then of Boucher. French School. ¥ 


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JEAN HONORE FRAGONARD 
No. 885—PORTRAIT OF LE CHEVALIER DE BILLAUT 


No. 386 


JEAN ANTOINE WATTEAU 


Frencu: 1684—1721 


JUPITER AND. ANTIOPE 
(Panel) 


Height, 1014 inches; width, 814 inches 


ANTIOPE, almost entirely nude and seen at full length as she reclines on green and 
pink draperies beneath the wide-spreading branches of a tree, is being discovered 
by the revolting Jupiter. He steadily approaches from behind the tree; in its 
branches hangs the quiver of Cupid, who is seated in the left foreground and 
holds a lighted torch in his right hand. Blue sky in the right background. 


From the collection of Comte de Larsindy, and from the collection of the Comte de Mar- 
bonne Peled. 


Purchased from Gimpel & Wildenstein. 


All lovers of the magnificent art of the short-lived Watteau will recall the larger, oval- 
shaped and different composed painting of the same subject which, after being in the d’Aren- 
berg, Bourlon de Sarty and Patureau Sales, passed into the Louvre. It is there (No. 991) 
still admired as one of that Museum’s greatest treasures. Yet this were worthy to hang next 
tots 

This beautiful little picture is a slightly changed version of Watteau’s much larger and 
famous picture in the Louvre, representing the same subject and reproduced in Edmond Pilon: 
“Watteau et son école,” 1912, page 114. The Louvre picture is oval-shaped and shows An- 
tiope sleeping with her left arm hanging down, while in the picture here reproduced it is 
thrown around her head. As for the Cupid seated on the ground, his quiver and torch, they 
are omitted in the Louvre picture, for which more probably the one here reproduced was a 
preliminary study. In both pictures the flesh and coloring are of exquisite beauty. 


Antoine Warrtrau: Born in Valenciennes in 1684; died at Nogent, near Vincennes, in 
1721. Pupil of Claude Gillot. Was received by the Académie Royale in 1717 at the presen- 
tation of his famous picture, “L’Embarquement pour l’Ile de Cythére,” in the Louvre. He 
was the inventor and the head of the charming school of painters of ‘“Fétes Galantes,” and 
one of the finest colorists among the artists of the eighteenth century. 


JEAN ANTOINE WATTEAU 
No. 386—JUPITER AND ANTIOPE 


(1 


fo LADIES BATHING (“LES BAIGNEUSES” ) 


No. 387 


JEAN HONORE FRAGONARD 
Frencu: 1732—1806 


(Canvas) 
Height, 27 inches; length, 834 inches 


E1cur ladies in different postures, four of them already in the stream; the others a 
are resting on the bank. The water runs apace, and rushes grow on the edge. 
the stream. Overhanging trees on the near bank on the right, and others in mol 
luxuriant foliage on the far bank on the left. Cloud cumuli in the sky. 


This is said to have been at one time in the Waferdin Collection, but the “Baigneuses,” 
“9 in that collection, sold in April, 1880, at the Hétel Drouot, is described as a P 
measuring 63/, inches by 934 inches. Yet this painting of “Les Baigneuses” may 
haps be identifiable with one in the Walferdin Collection. ¥ 

At one time in the collection of Baron de Beurnonville, and sold May 9-16, 1881, No 
described in the catalogue as “a charming sketch; a repetition by the master of the 
picture in the Lacaze Collection in the Louvre.” ~ ee 

Subsequently in the possession of Baron Franchetti and of Vicomte Jacques de Causo 
apparently also included in a Vente Judiciaire in June, 1887, ‘(Portalis, “Fragonare 
1889, page ale) : 


from either. (See Perales “Fragonard,” page 69.) a 

In the “Exposition d’Qiuvres de Fragonard,” held in Paris, 1921, was included a 
ture entitled “Baigneuses” (No. 30), of 1765-67, measuring 25 inches by 32 inches, 
described as being from the collection of the Comtesse Tysziewicz and lent by Jean Bartho 
It is a slightly different version, 


of the Catalogue), belonging to the Duc de Feltre Collection and lent by Mxdase La 
tesse H. de Gontaut-Biron, in Paris. As for the picture we are concerned with here, 
also mentioned in the work by Pierre de Nolhac on Jean Honoré Fragonard, page 119. 


JEAN Honort Fraconarp: Born at Grasse in ee died in Paris in 1806. Pupil : 
of Chardin, then of Boucher. French School. ¥: 


JEAN HONORE FRAGONARD 
No. 387—LADIES BATHING (“LES BAIGNEUSES”) 


No. 388 
JEAN HONORE FRAGONARD 


Frencu: 1732—1806 


i | ce PORTRAIT OF MADEMOISELLE COLOMBE AS “VENUS” 
(Canvas—Oval) 
Height, 32 inches; width, 18% inches 


Licut-ToneEb, classically conceived portrait. The young lady, with fair hair and 
blue eyes, is seen at half length; in full face and nude to the waist. ‘The lower 
part of her form is enveloped in pink and white draperies of flimsy texture. 
With her right hand she points to her emblematic dove, in the right corner; in 
her upraised left hand she holds the apple of Venus. Opaque clouds in the upper 
sky that forms the light-keyed background. 


Marie Thérése Théodore Rombocoli-Riggieri was born in Venice, October 22, 1754. 
Taken, together with her sister Marie (called Adeline), to Paris while still a child by her 
father, she entered the Comédie Italienne in 1766. There she became acquainted with the 
Comte de Masserone, known as Lord Mazarin, who fell desperately in love with her, and, as it 
is said, “bought her from her parents for 100 louis d’or.” Mlle. Colombe, as she was known 
as a singer on the stage, gained an increasing reputation by the parts she played in “Le 
Huron,” “Tom Jones,” “Le Biicheron,” ‘‘Lucile,”’ “Le Roi et le Fermier,” “Le Déserteur” and 
such plays. She retired from the stage in 1788, after seventeen years of active work, with 
a pension, and settled at Versailles, but her later life was not of high repute. Grimm said 
that she “had the most beautiful eyes in the world.” Grimm, Bachaumont and Boldini praised 
her very highly ; Faleonet executed her portrait in marble; also her contemporaries acknowl- 
edged her beauty: 


“chez elle il faut s’appareiller 
Si dans ses mains je tombe 
quelle me transforme en ramier. 
Car j’aime la Colombe.” 


Mlle. Colombe, or Colombe l’ainée, is distinguished from her sister Marie-Madeleine, 
known also as Colombe Cadette or as Adeline. The latter was born at Florence, December 
15, 1760, and died at Versailles, February 4, 1841. The portrait of Marie Madeleine Riggieri 
(known as Adeline) was also painted by E. Fragonard, and that about 1775-76; it is an oval 
and measures 23 inches by 19 inches. From the Doucet Sale, Paris, 1912 (No. 140), it passed 
to Mme. L. G. Thompson, who lent it (No. 54) to the Fragonard Exhibition held in Paris in 
1921. Another portrait of Adeline by Fragonard was found at Saint Brice in the countrv 
house of her sister Mlle. Colombe—whence also comes the present work—and is to-day in the 
collection of Baron Edouard de Rothschild. 


From the collection of the Chateau de Saint Brice. 
Bought from Gimpel & Wildenstein. 


JeAN Honoré Fraconarp: Born at Grasse in 1732; died in Paris in 1806. Pupil first 
of Chardin, then of Boucher. French School. 


. 


AN HONORE FRAGONARD 
388—PORTRAIT OF MADEMOISELLE COLOMBE AS “VENUS” 


JE 


No. 


No. 389 


MAURICE QUENTIN DE LA TOUR 


Frencu: 1704—1788 


PORTRAIT OF A LADY 
(Pastel—Oval) 


Height, 23 inches; width, 19 inches 


Sux is represented in an oval, half-length, facing toward the right and her head 
turned to the left. She wears a gown cut low in front and trimmed with ribbons 
and lace. Over it is a rich mantle trimmed with fur and around her neck is a 
pearl necklace. Her soft wavy hair is combed back from her forehead and her 
beautiful face has a smiling expression. 


She was one of the daughters of Jean Pierre Roch de Chastagner, seigneur of Lagrange 
and of Labruyére, who was a son of Jean Pierre de Chastagner de Lagrange, doctor and 
lawyer, by his wife Demoiselle Marguerite de Teissier du Rossier de Tagnac; he married, Feb- 
ruary 8, 1741, Demoiselle Marie Elisabeth de Mirman de La Tour, of the town of Saint 
Ambroix. She was a daughter of Messire Frangois de Mirman, seigneur of La Tour, by his 
wife Suzanne Bouzige of Lacoste. This Francois Mirman, of La Tour, was the brother of 
the celebrated pastellist. 

Another pastel portrait of this lady by La Tour, seen three-quarters to the left and 
measuring 15 inches by 12 inches, is mentioned in the “Catalogue des Pastels de M. Quentin 
de la Tour, composant La Collection de Saint-Quentin,” published in Paris, 1920, page 29. 
Therein will be found much biographical matter regarding the family. 

This pastel was purchased from Madame Plisent of Nice, France, née Chastagner de La- 
grange. 

A pastel head of the same lady, which probably was a sketch for the same picture, is 
reproduced in Herman Erhard: “La Tour, der Pastellmaler Louis XV,” 1918, pl. 49a. 


Maurice QuENTIN DE LA Tour: Born in Saint Quentin in 1704; died in 1788. Worked 
only in pastel and was the most famous pastellist of the ‘time. 


MAURICE QUENTIN DE LA TOUR 
No. 389—PORTRAIT OF A LADY 


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390—A RECTANGULAR GLAZED TERRA-COTTA RELIEF REP- 


6° 


RESENTING A CHERUB’S HEAD 


Against a dark blue background is seen a six-winged cherub, glazed in white. 
His hair is gilded and behind his head is seen a nimbus. Along the base is a 


twisted pattern. 
Height, 8% inches; width, 16 mches. 


This cherub’s head, made in the Della Robbias’ atelier, has its prototype in An- 
drea’s heads of cherubs, in whose atelier an innumerable number of them were pro- 
duced. Among those still extant there is one in the Berlin Museum; one in the Berwind 
Collection in Newport. 


ATELIER OF ANDREA DELLA ROBBIA 


—A GLAZED TERRA-COTTA RELIEF REPRESENTING THE 


ADORATION OF THE INFANT JESUS 
Florentine Late Fifteenth or Early Sixteenth Century 


Within an arched niche, bordered by an egg-and-dart pattern, is seen the 
Virgin, kneeling and adoring the Infant Jesus, reclining naked on a cushion. 
Above, in the clouds, is seen the Eternal Father with uplifted hands, and 
surrounding him are five winged cherubs. Nimbi are behind their heads. 
The Holy Dove is seen at the left above the head of the Infant Jesus. 


The exterior of the arch is bordered by a continuous garland of fruit and flow- 
ers painted in various colors. On top, in the center, is a vase of flowers, and 
at the base, below an egg-and-dart molding and a frieze of leaves, is seen a 
winged and nimbed cherub’s head. Blue background. 


Height, 41 inches; width, 261% inches. 


This relief is derived from the LA VERNA altarpiece, the most popular of Andrea’s 
compositions. A great number of variants of it are scattered in museums and private 
collections. Some of them show the Madonna and Child with God the Father, six cher- 
ubs and dove; others are with five cherubs and dove; still others with two cherubs, 
dove and two angels, ete. Mr. Allan Marquand, in his work on Andrea della Robbia, 
pages 19-42, gives a complete list of all these reliefs. As for reliefs showing exactly the 
same composition as the relief here reproduced, there are, among others, the one for- 
merly in the Spitzer Collection (Catalogue de la Collection Spitzer, 1893, Pl. XX XVIII, 
No. 1288); one in the Berlin Museum (Frida Schottmiiller: “Die Italienischen und 
Spanischen Bildwerke der Renaissance und des Barocks,” page 45, Fig. 103); one in 
the Martin A. Ryerson Collection in Chicago (Marquand: “Andrea della Robbia,” Vol. 
II, page 23, Fig. 150); one in the Church of Santa Maria in Consolazione in Genoa 
(Marquand: Ibid., Vol. II, page 25, Fig. 151); two in | the National Museum in Flor- 
ence, one in the South Kensington Museum, ete. 


(Illustrated) 


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No. 391—A GLAZED TERRA-COTTA RELIEF REPRESENTING 


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392—A PAINTED TERRA-COTTA BUST REPRESENTING SAINT 


CATHERINE OF SIENA Sienese, Sixteenth Century 


Saint Catherine of Siena is seen facing to the front. She wears a white 
wimple, framing her face and draped in front. Over it is a white veil and 
over her shoulders a blue mantle. The face and eyes are painted in natural 
colors. ‘The bust is standing on a yellow detachable stand. 


Height, 141% inches; width of base, 18 inches. 


Saint Catherine of Siena was a favorite subject with the Sienese artists, and busts 
of the same kind are met with in museum and private collections. There is, among 
others, the same bust in the Berlin Museum, given by Bode to Benedetto da Mejano 
(Denkmiler . . . Pl. 436, page 111), and which Schubring in his work, “Die Plastik 
Sienas im Quattrocento,” page 150, gives to Giovanni di Stefano. 


FLORENTINE SCHOOL 


393—ITALIAN MARBLE BUST OF AN INFANT 


a Ee 


Thin drapery falls from the left shoulder. The face slightly turned toward 
the right. The hair parted down the middle and falling on to the nape of 
the neck. On a green and gilt wood base. Found in a tomb. 


Bust, 10% by 101% inches. 
From the Lazzaront Collection, Rome. 


Purchased from Canessa Brothers. 


Note: Reminiscent of a bust by Desiderio da Settignano in the collection of M. 
Gustave Dreyfus, and reproduced in Les: Arts, December, 1907, page 3. 


) 
et 


394A SOUTH TYROL PAINTED AND GILDED STATUE REP- 


RESENTING SAINT FLORIAN Late Fifteenth Century 


Saint Florian is standing on a round wooden base, his legs crossed and wear- 
ing a full armor over which is draped a mantle covering his back and shoul- 
ders, attached in front with folds gathered under his left arm. The head of 
the Saint is slightly bent forward, toward the right, and on his thick curly 
hair is a rolled flat cap. Both forearms, which are missing, were originally 
most probably holding a bucket or pitcher of water, recalling Saint Florian 
in the act of extinguishing fire. Flesh painted in natural colors. 


Height, 31 mches. 
Formerly in the collection of Baron Eugen von Miiller zw Eichholz, in Vienna. 


Reproduced in the work by Julius Leisching: “Figurale Holzplastik . . .,” Wien, 
1908, Pl. 53, Fig. 111. 


Saint Florian, one of the eight tutelar saints of Austria, who among other miracles 
is said to have extinguished a conflagration by throwing a pitcher full of water over the 
flames, is rarely or almost never met with in Italian art. He is a favorite Saint in Ger- 
many and in Austria, and he is frequently represented there in paintings and in sculp- 
tures. ‘The statue here reproduced belongs to the best specimens of its kind, and the 
costume, as well as the type and the arrangement of the hair, is characteristic of the 
Tyrolese art of the late fifteenth century. 


(Illustrated) 


LATE FIFTEENTH CENTURY 


No. 394A SOUTH TYROL PAINTED AND GILDED STATUE 
REPRESENTING SAINT FLORIAN 


BY A FOLLOWER OF MICHELOZZO 


395A TERRA-COTTA STATUETTE REPRESENTING SAINT 
JOHN THE BAPTIST AS A CHILD 
Florentine Late Fifteenth Century 


Saint John the Baptist, wearing a short dress of animal skin which exposes his 

0° chest, arms and legs, is getting up from a trunk of a tree against which he 

! 4 was seated. He is about to walk toward the left. Over his left arm is draped 
a mantle, and in his left hand is an unfolded scroll. 


Height, 20 inches. 
Purchased from Lowengard, Paris. 


The subject of Saint John the Baptist, represented as a Child, was a favorite one 
with the artists in Italy in the fifteenth century. 'The best known are those by Miche- 
lozzo in the Opera del Duomo and in the National Museum in Florence; the one by Ver- 
rocchio in the Berlin Museum, and the one by Rossellino in the National Museum in 
Florence. In comparing the above-mentioned statuette with the ones just mentioned, 
we find most analogies with the ones by Michelozzo, from which it undoubtedly derives. 
(See reproduction in Venturi: “Storia dell’ Arte Italiana,” Vol. VI, page 365, Fig. 228; 
and Alinari, No. 3715). 


BY A FOLLOWER OF MICHELOZZO 


No. 895—A TERRA-COTTA STATUETTE REPRESENTING SAINT 
JOHN THE BAPTIST AS A CHILD 


FINE OLD ITALIAN BRONZES 
OF THE FIFTEENTH, SIXTEENTH AND SEVENTEENTH CENTURIES 


396—A GILT BRONZE LOCK AND HASP 
Italian (Roman) Second Half of Sixteenth Century 


In the center, on the hasp, is seen the Goddess Ceres, standing and supporting 
on her head a basket of corn. She wears a sleeveless floating gown girdled at 


50> the waist. Below is the coat-of-arms of the princely Orsini family of Rome, 
3 which are: ‘“Bandé de gu. et d’argent; au chef du sec., chargé d’une rose de 


gu. et soutenu d’une devise d’or chargé d’une anguille ondoyante en fasce 
dor.” These arms are represented at the left of the shield, while at the right 
are those of an unidentified family by alliance. The lock itself shows a rich 
decoration of trophies, vases, masks and two reclining human figures. 


Affixed to a red velvet mount. 
Extreme height, 934 inches; width, '7 inches. 


The fact that this richly decorated and highly finished lock has been made for the 
Orsini family is of the greatest interest. This princely family is among the most fa- 
mous in Italy. Their erigin goes back to the tenth century and their principal titles 
are: Seigneurs of Monterotondo; Counts of Nola, of Pitigliano, of Manupello, of Lecce; 
Dukes of Bracciano, of Gravina, of Venosa; Princes of Tarente, ete. . . . Three 
members of their family were elected Popes, one in 1191 under the name of Celestin III, 
the second in 1277 as Nicolas III, and the third in 1724 as Benedict XIII. Other high 
charges were held by members of the Orsini family on whom the titles of Prince of So- 
lofra and the Prince of the Holy Empire were conferred. 


(Illustrated) 


397—_NORTH ITALIAN BRONZE MORTAR — Late Sixteenth Century 


Circular and wide-mouthed. Ornamented with circular bands, the upper 

having floral forms set between two medallions which contain the Sacred 

ae ; Monogram; the lower band, of diversified anthemion pattern. Inscribed 

Bi round the rm: SANCTA MARIA DI JESU, and dated MDLXXXXI. 
On a detachable base. Dark patina. 

Height, 111% inches. 


This mortar is of excellent workmanship and shows the same form as a mortar of 
an earlier period in the Louvre, reproduced in the Catalogue of Bronzes, page 47, No. 
38. 


ITALIAN (ROMAN) SECOND HALF OF THE SIXTEENTH 
CENTURY 


No. 396—A GILT BRONZE LOCK AND HASP 


WORKSHOP OF ANDREA BRIOSCO (cattep IL RICCIO) 


398—_ANTIQUE ITALIAN BRONZE CANDLESTICK 
Paduan Sixteenth Century yo 


b 50 ; The bronze candlestick is shaped in the form of a fish, with a human and 
bearded head. The fins form the base and the candle-socket is set withm aS . 
curve of the tail. Dark brown patina. 

Height, 3% inches; length, 7 cee 


It is interesting to compare this candlestick with two inkstands of the same charac- 
ter in the National Museum in Florence and in the Estense Museum in Modena, repro- 
duced in Bode: “The Italian Bronze Statuettes of the Renaissance,” Vol. I, Pl. 46. _ 


~ WORKSHOP OF ANDREA BRIOSCO (catteD IL RICCIO) 


399—A BRONZE LION, OR PANTHER Paduan Sixteenth Century 


600. 


The lion is trotting forward, his right front leg raised from the ground. His 
head is turned toward the right and his mouth is slightly open. The long 
tail is lashed between the legs and turned over the back. 

Height, 4% inches. 


Formerly in the S. E. Kennedy Collection in London; sold March, 1918, No. 429. 
Purchased from Jacques Seligmann, Paris. 


This animal, of excellent workmanship, is a slight variation of the walking lion in 
the J. Pierpont Morgan Collection, reproduced in Bode: “The Italian Bronze Statuettes 
of the Renaissance,” Vol. II, page 2, Fig. 13. 


Dee 


WORKSHOP OF ANDREA BRIOSCO (cattep IL RICCIO) 


400—A BRONZE INKSTAND Paduan Early Sixteenth Century — 


The inkstand is formed of a round vessel supported on the right shoulder of a 
bearded man. He is kneeling on one leg and his left hand is placed on his 
left knee while supporting the vessel or receptacle for ink with his right arm. 
Brown patina. 


Height, with base, 8 inches. 


The composition is a derivation of the famous inkstand formerly in theTaylor Col- 
lection in London, reproduced in Bode: “The Italian Bronze Statuettes of the Renais- 


sance,” Vol. I, page 29, Fig. 23. There is a similar group in the Caruso Collection in 5 3 


New York; another group showing great similarity is in the Martin le Roy Collection in 
Paris, and still another in the Berlin Museum. 


i 


401—BRONZE INKSTAND: “CUPID AND A DOLPHIN” 


Venetian Sixteenth Century 


The quadrilateral cover, which is ornamented with female busts and, at each 
corner, with the figure of an eagle with wings deployed, is surmounted by a 
Cupid who reclines on the back of a dolphin. The quadrangular base is fluted 
and ornamented with swags of foliage; at either end is an armorial shield, and 
at either side a lion’s head. The interior has four compartments, and the tray 
is removable. Brown patina. 


Height, 8 inches; length, 884 inches; width, 6 inches. 
Formerly in the collection of Edward Joseph, London. 


Subsequently in that of S. E. Kennedy, London, and by him exhibited at the Royal 
Academy, 1904, Case G, No. 14. 


Sold at Christie’s, March 20, 1918, No. 405. 


_Purchased from Jacques Seligmann, Paris. 


The inkstand, of excellent and most decorative qualities, is a characteristic example 
of Venetian workmanship in the second half of the sixteenth century. It shows similarity 
in the conception and in the decoration with an inkstand formerly in the J. Pierpont 
Morgan Collection, reproduced in Bode: “The Italian Bronze Statuettes in the Morgan 
Collection,” Vol. II, Pl. 135, No. 197. 


AFTER BENVENUTO CELLINI 


402—ITALIAN CANDLESTICK 


ae 


Three winged putti touch the support of the candlestick as they move 
it. Their feet tread on a garland of foliage placed on the ground. — 
is triangular and rests on voluted feet. | 


Height, 9 


60°. 


ATTRIBUTED TO BENVENUTO CELLINI 


403—ITALIAN SIXTEENTH CENTURY BRONZE STATUETTE: 
“MERCURY AND CUPID” 


Mercury, without talaria, is standing; his left foot touches lightly his winged 
petasus. With his right hand he holds a drapery to Cupid, who, on the ground 
by his right side, places his left hand between Mercury’s petasus. Ona black 
wood base. Brown patina. 


Height, 7 inches; with base, 10 inches. 
Purchased from Jacques Seligmann, Paris. 


BY A FOLLOWER OF JACOPO SANSOVINO 


404—A PAIR OF ITALIAN BRONZE URNS 
Venetian Late Sixteenth Century 


0: Around the body is a decoration of three heads of winged putti, placed be- 
1° _ tween each two of the three handles. The lower part is decorated with 
ae palmettes and acanthus leaves. On the rim is an egg-and-dart decoration. 

55 Standing on brown yellow marble plinths. Brown patina. 


Height, 111% inches. 


Purchased from Jacques Seligmann, Paris. 


405—PAIR OF BRONZE FIGURES Itahan Seventeenth Century 

“Ho, 
=) O Possibly by Alessandro Algardi or by an artist near to him. The one on the 
left has turned his head toward the left; a drapery falls from his left shoul- 
der and conceals his left hand; the right hand is raised above the head. Seated 


4 woe ‘on a verde antico marble three-sided plinth. 


The one on the right looks out wistfully toward the right, his left hand ex- 
tended. A drapery conceals his right arm and, carried round the back of 
his body, falls on to his left leg. Seated on a verde antico marble three-sided 
plinth. Black patina. 

Height, over all, 14 inches. 


406—SIXTEENTH CENTURY VENE- 


TIAN BRONZE GROUP OF 
“HERCULES AND CERBERUS” 


The God, represented standing, is nude. 
His right arm placed behind him and rest- 
ing on his hip. His left hand is raised and 
grasps an arrow (detachable). He looks 
down at the long-tailed three-headed mon- 
ster which crouches at his feet. On a 
rectangular base. 


Height, 12 inches; with base, 1514 inches. 


é 


Purchased from Jacques Seligmann, Paris. 


There is in the South Kensington Museum 
in London an identical statuette of Hercules, 
where the monster, however, is missing. It is 
reproduced in Bode: “The Italian Bronze Stat- 
uettes of the Renaissance,” Vol. III, Pl. 230, 
where it is called Venetian, second half of the six- 
teenth century. 


& 


407—BRONZE STATUETTE OF BACCHUS 


00. 


Italian Late Sixteenth or Early Seven- 
teenth Century 


Bacchus is represented full length, nude, ex- 
cept for a goat’s skin falling over his left arm 
across a small portion of his body. He is 
slender and youthful and faces to the front with 
flowing hair, his right arm thrown over his head 
and the hand holding a bunch of grapes. In 
the left hand, of which the arm hangs down, he 
is holding another bunch of grapes. Below, 
seated beside Bacchus, is a leopardess, raising 
its paw and trying to reach up toward the 
grapes. Dark brown patina. On a green 
marble rectangular base. 


Height, 9% inches; with base, 131% inches. 
Purchased from Lowengard, Paris. 


Another replica of the same statuette was for- 
merly in the J. Pierpont Morgan Collection, coming 
from the Pfungst Collection, and reproduced and 
described by Bode: “The Collection of Bronzes in 
the J. Pierpont Morgan Collection,” Vol. I, Pl. 70, 
No. 104. 


AFTER VERROCCHIO 


408-—BRONZE EQUESTRIAN FIGURE OF COLLEONI 


Reproduction, on a yery small seale, of the well-known statue of Bartolom- 
meo Colleoni (died 1475), the famous condottiere, modeled in 1481 by 
Andrea del Verrocechio and cast by Leopardi, and now placed in the Campo 
Santi Giovanni e Paolo, Venice. 


Height, i inches; the base, 7 inches high and 15 inches long. — 


pos? 


409—FLEMISH SEVENTEENTH CENTURY BRONZE GROUP: 
“ST. GEORGE SLAYING THE DRAGON” 


The soldier Saint, mounted on his steed, which prances over the form of the 
half-conquered dragon, is about to deliver the final blow. On a brown wood 
base. 

Height, 814 inches; with base, 111% inches. 


0 
9) 


no” 


(0) e 


410—A PAIR OF BRONZE CANDLESTICKS 


sae 


ALESSANDRO VITTORIA 


Venetian Second Half of Sixteenth C 


Fach candlestick is formed by a nude figure of a boy supporting 
arms, against his head, a fluted vase which serves for the socket for 
dle. The base upon which the figures are standing is formed of thi 
horses resting their front feet on strapwork pattern. Three winged p 
placed between them. The feet of each candlestick are decorated w 
thus leaves. 


Formerly in the J. E, Taylor Collection in London. 


Reproduced and described in the Sale Catalogue, July 1, 1912, Pl. 10, as by J 
Sansovino. tae 


The attribution of the candlesticks to Alessandro Vittoria is based on the 
they bear a close relationship with his works. An identical candlestick comin 
Simon Collection in Berlin is reproduced by Bode: “The Italian Bronze Statu 
Renaissance,” Vol. III, Pl. 204, and is given by him to Alessandro Vittoria. 
of the same kind, holding a vase on his head, is in the Imperial Museum in Vie 
is reproduced in Julius von Schlosser: “Werke der Kleinplastik in der 
Sammlung des Allerhéchsten Kaiserhauses,” Vol. I, Pl. XX, No. 4. 


(Illustrated) 


SMOLLSHIGNVO LAMOINd AZNOUM AO UIVd V—OlLF ON 
VIHOLLIA OHGNVSSHWITV 


35° 


411—A BRONZE INKSTAND IN THE MANNER OF ALESSANDRO 
VITTORIA 


Three winged and bearded satyrs whose bodies terminate in dolphins’ tails 
support the receptacle for the ink, formed of a round bowl with cover and 
decorated with a conventional leaf-work pattern. 

Height, 7% mches. 


The lower part of the inkstand, which is the interesting part, shows great similarity 
in the decoration and in the conception with candlesticks formerly in the J. Pier- 
pont Morgan Collection, given to Alessandro Vittoria and reproduced in Bode: ‘‘Cata- 
logue of Bronzes in the J. Pierpont Morgan Collection,” Vol. II, Pl. 137, No. 200. 


412—EARLY SIXTEENTH CENTURY ITALIAN PADUAN 
BRONZE INKSTAND: “GOOSE AND GANDER” 


Designed as a group of two birds placed on a tuft of grass and set on a base 
cast with three cherub-heads, foliage and scrolls. The whole is set on a tri- 
angular grained red marble plinth. Dark patina. 


Height, 7% inches; with base, height, 8% imches. 
Formerly in the collection of S. E. Kennedy, London, sold March 20, 1918, No. 416. 
Purchased from Jacques Seligmann, Paris. 


This inkstand, which is of excellent quality, is a characteristic specimen of Paduan 
workmanship of the School of Riccio in the early sixteenth century. 


418—SIXTEENTH CENTURY VENETIAN BRONZE FIGURE 


On A Centaur lying on the ground with fore feet extended as if about to rise. — 
0 Holds a club in cored right hand, and a shield of clas sical design on the 
left fore arm. On a dark green marble base. 


lb 


Height, 634 inches; length, 8% inches. — 
Bought from J. & S. Goldschmidt. 


Referred to by Dr. von Bode, in a letter of Oct. 23, 1912, as follows: “The bronze _ 
you showed me, a ‘Centaur with a Club and in his Left Hand a Shield,’ is a fine Italian te 
example of the 16th century, I have never seen this model before. Judging from the — 
shape of the shield, this bronze is of the Venetian or Paduan school.” 


414—EARLY SIXTEENTH CENTURY PADUAN BRONZE INK- 
STAND: “PROMETHEUS AND THE EAGLE” 


The nude, bearded figure is lying face upward, with his back arched and his 
knees bent and bound to the rock. His head rests on a projecting stump, to 
which his right hand is attached. His left hand is manacled to the ground. 
gi) “0. The cover of the inkstand fits into an aperture in his breast and is formed of 
an eagle standing on a tuft with wings outspread. The base is formed of four 
projecting arms and is inscribed: BERNARDINUS MAGISTER LU- 


CELLUS IVD. Dark brown patina. 
Height, 8 inches; length, 10 inches. 


Exhibited at the Burlington Fine Arts Club, 1912, No. 62, Plate XX XI, page 79. 
From the collection of S. E. Kennedy, London. 


Purchased from Jacques Seligmann, Paris. 


415—SIXTEENTH CENTURY ITALIAN BRONZE MOI 


¥ 


Finely chased in each quarter with allegorical scenes, set abor c 
age which, at each side, depend from masks. In the center of e 
armorial shield, displaying the arms of the House of Este, and o 


ae 


Base: Height, at, thé 
From the collections of Louis Huth, E. Govett and S. E. Kennedy, 


a Wl 


Purchased from Duveen Brothers. a a ae 


— (IIlustrated) 


. ‘ et 
3 
“. ~ it 
Yi Le 


SCHOOL OF JACOPO SANSOVINO 


416—BRONZE INKSTAND IN THE FORM OF A MERMAID 
Venetian Second Half of Siateenth Century 


0: A nude seated female figure is seen to below the waist, the lower part of her | 
0 body ending in twisted fishtails. Between them is placed the receptacle for — 
ink, and the cover of it is formed by the head of Medusa. The whole rests — 

upon ball feet, and in front is seen a coat-of-arms, most probably belonging © 

to the Trevisan family of Venice: “Gold, a band gules with six stars of same 

in orle.” The mermaid, or sea-nymph, wears a helmet on her head and her 7” 

body is slightly bent forward, while she looks in front of her. She is holding he 

on to the rim of the inkstand with one hand, while in the other is a book on 


the cover of which is inscribed PROTOCOLI', H.A. : 
Height, 5Ys inchs. 


Te 


Formerly in the collection of Sir George Donaldson of London, who sold it privately 
to S. E, Kennedy. > 


Purchased from Duveen Brothers. 


Another inkstand of identical form was formerly in the J. Pierpont Morgan Col- 
lection (Bode: “Catalogue of Bronzes in the J. Pierpont Morgan Collection,” Vol. II, 
Pl. 129, No. 188) ; still another is in the Foulc Collection in Paris (Bode: “The Italian 
Bronze Statuettes of the Renaissance,” Vol. Il, Pl. 169). Bode in speaking of the Mor- 
gan inkstand, in the introduction to the Catalogue, page xxxvi, says: “An in - 
stand of fantastic design also belongs to the school of Sansovino—a mermaid wearing © 
a helmet and holding between her twisted fishtails a wide-mouthed receptacle to hold the 8 
ink. ‘This inkstand ek have been very popular in Venice as a number of copies of it ; 
have come down to us.’ 


(I Tlastrated 


SCHOOL OF JACOPO SANSOVINO 
No. 416—BRONZE INKSTAND IN THE FORM OF A MERMAID 


qin 


417-ITALIAN BRONZE GROUP: “FEMALE SATYR WITH | 


ANDREA RICCIO (1470-1532) 


FANT” 


The Satyr is seated on a tree-trunk and holds a conch in her right 
small satyr on the right in front. On a hexagonal base. Light bro 
tina. : 
) Height, 9 
Formerly in the collection of Isaac Falcke, sold April 19, 1910, No. 44. | 
Purchased from Duveen Brothers. 


Similar groups by Riccio are in the Berlin Museum and in the Ducal M 
Brunswick. They are reproduced in Bode: “The Italian Bronze Statuettes 
Renaissance,” Vol. I, Pl. XLIV. : 


* 


BY ANDREA RICCIO 


No. 417—ITALIAN BRONZE GROUP: “FEMALE SATYR WITH 
INFANT” 


418—EARLY SIXTEENTH CENTURY PADUAN BRONZE BOY 
ie OR WINE-COOLER a 


ia \7 Elaborately decorated with festoons of foliage and, below, with confront 
and rampant wyverns or griffins; anthemion patterns along the rim. ‘The 
foot supporting the base is modern. Placed on an irregularly quadr 
base set round with masks and supported by four heads of putti. Bre 
tina. On a black octagonal pedestal. Foot modern. ae 


Height, 7° inches; diameter of bowl, 10 


Formerly in the J. Pierpont Morgan Collection, and illustrated in Dr. von 
“Catalogue,” Plate CXXXI. - 


— neh 
fname rere y SW Au | 
7 


No. 418—EARLY SIXTEENTH CENTURY PADUAN BRONZE BOWL 


OR WINE-COOLER 


BARTOLOMMEO BELLANO 


(Born about 1430 at Padua; died there in 1498.) 


419—BRONZE STATUETTE REPRESENTING DAVID STAN 
ING ON THE HEAD OF GOLIATH ae 
Paduan Second Half of the Fifteenth Cen 


David is represented full length, with long curly hair and wearing a_ 
tunic girdled at the waist. A sling is across his shoulder. He is loo 
down at the head of Goliath, lying at his feet, and into which he pl 
sword held in his right hand. Placed on a square ebonized plinth. | 
tina. 

Height, 97% 


Formerly in the Pfungst, J. P. Morgan and J, E. Taylor Collections. 


Reproduced and described in Bode: “The Collection of Bronzes in the J. Pier: D0 
gan Collection,” Vol. I, Pl. XV, No. 18. i. 


Reproduced and described in the Catalogue of the J. E. Taylor Collection, Sa 
1, 1912, Pl No, 1A; 


Purchased from Duveen Brothers, 


The group is of great importance, as well for its artistic achievement and 
as for the fact that it is a characteristic specimen of Bartolommeo Bellano’s 
ship. The subject itself was in great favor with the artists of the time. 
known specimens of the same composition are those in the South Kensington M 
London and in the Foule Collection in Paris, reproduced in Bode: “The Italia 
Statuettes of the Renaissance,” Vol. I, Pl. XX. In speaking of them, page 
calls the David and Goliath composition “, . . one of the artist’s leading br 
and his masterpiece.” arr ony itn: Se 


BY BARTOLOMMEKO BELLANO 


No. 419—BRONZE STATUETTE REPRESENTING DAVID STANDING 
ON THE HEAD OF GOLIATH 


a 


420A BRONZE GROUP REPRESENTING NEPTUNE AND 


BARTOLOMMEO BELLANO 
(Born in Padua about 1430; died there in 1498) 
(Formerly Attributed to Andrea Riccio) 


MONSTER Paduan Late Fifteenth C 


The Marine God is represented nude, standing on the back of the sea 
which he was originally holding with a chain, now broken off. In the 
hand he is holding the trident, while looking down at the monster. E 
is massive, his hair thick and curly and his beard is thick and cut short. 


Formerly in the Bucquet Collection. Height, 17 i 
Purchased from Jacques Seligmann, Paris. 


The figure of Neptune is of excellent workmanship. The group itself : 
slightly different version of the famous group formerly in the Spitzer, Hainaue 
Pierpont Morgan Collections, reproduced, among others, in the “Catalogue of B 
in the J. Pierpont Morgan Collection” by Bode, Vol. I, Pl. XVI, No. 19, and in 
“The Italian Bronze Statuettes of the Renaissance,” Vol. I, Pl. XXIV, where ar 
reproduced two other versions of the same subject, in the National Museum in FE 

All these statuettes have formerly been attributed to Andrea Riccio. 


BY BARTOLOMMEO BELLANO 
(Formerly Attributed to Andrea Riccio) 


No. 420—A BRONZE GROUP REPRESENTING NEPTUNE AND THE 
MONSTER 


-421-VERY FINE SIXTEENTH CENTURY ITALIAN BRONZI 


ATTRIBUTED TO ANDREA RICCIO (1470-1532) 


INCENSE BURNER 


The body is round in form and ornamented with three male statues. S 
ing these statues there is a mask with protruding tongue, surmounted 
eagle which has settled on a swag of foliage. The base rests on three f 
mented with half figures. A faun, holding grapes in his right hand a 
pipes in his left, is seated on the cover, which is decorated with Medusa 
shells and foliage, which in turn rests on the bodies of three reclining 


é | her Height, 1 
Purchased from Jacques Seligmann, Paris. 


The incense burner is one of the very fine specimens of Renaissance bro 
other, almost identical, examples by Riccio are in the collections of Sir Ju 
her in London and Baron Gustave de Rothschild in Paris. See reproductic 
“The Italian Bronze Statuettes of the Renaissance,” Vol. I, Pl. LX. 


ATTRIBUTED TO ANDREA RICCIO 


No. 421—VERY FINE SIXTEENTH CENTURY ITALIAN BRONZE 
INCENSE BURNER 


ADRIEN DE VRIES 
(Born at The Hague in 1560; died after 1603. Pupil of Giovanni Bologna) ae 


- (1 0 
50 es 
A I 422 BRONZE GROUP REPRESENTING HERCULES, DELIA} 
AND NESSUS Italian Early Seventeenth Cer 


Trampling on the defeated Nessus is seen Hercules naked, with thick 
hair and a short beard, and holding on his arms Deianira whom he fr 
the monster. Deianira is equally represented naked, except for a 
around her loins. Her thick curly hair is arranged high on her head. B 
patina. Placed on a red porphyry base. 2 
Height, 34 


Exhibited in Paris in 1913 in the “Exposition d’art du Moyen Age,” and reproa 
its Catalogue, page 47, No. 94, 


There is a great similarity in the types with a group of “Triton and Na 
Adrien de Vries formerly in the J. Pierpont Morgan Collection, reproduced i 
“Catalogue of Bronzes in the J. Pierpont Morgan Collection,” Vol. Il, Pl. 114, 
165. An identical group, but showing somewhat different types, is in the 
Museum in Vienna, where it is attributed to another of Gian Bologna’s pupils, t 
Francavilla. (See reproduction in Julius von Schlosser: “Werke der Kleinp! 
der Skulpturensammlung des Allerhéchsten Kaiserhauses,” Vol. I, Pl. XX XV. 


BY ADRIEN DE VRIES 


No. 422—BRONZE GROUP REPRESENTING HERCULES, DEIANIRA 
AND NESSUS 


423—BRONZE STATUETTE OF “HEBE” 


ADRIEN DE VRIES 
(Born at The Hague in 1560; died after 1603. Pupil of Giovanni Bologna) _ 


Full length, nude, standing and holding a cup in her upraised | 
Her right hand, grasping a drapery, holds a ewer, which she p: 
her right thigh. Her left leg, bent forward at the knee, rests 
back of a tortoise. On a square gray porphyry and mottled green 
base. Dark brown patina. | AS 


Purchased from J. and S. Goldschmidt. 


A fine group of excellent workmanship. 


ADRIEN DE VRIES 
No. 423—BRONZE STATUETTE OF “HEBE” 


ae 


424A BRONZE.LAMP ATTRIBUTED TO PIETRO TACCA — 


Florentine Early Seventeenth Ce 


The top formed in classical shape, with figure of Vulcan blowing a pair of 
lows; the stem formed of three caryatides, back to back. At each co 
the triangular plinth is a figure of an eagle with outspread wings; the 
itself is decorated with the arms of the Imperata family set in oblong e 
touches and supported on feet formed of aM Dark brown patina. ae 


Height, 164% in 
From the collection of the Duke of Marlborough at Blenheim Palace. 


Subsequently the “Property of a Nobleman,” and sold at Christie’s, London, on : 
25, 1912, No. 63. ; 


It is interesting to compare this lamp with an inkstand by Pietro Tacca | 
in the J. Pierpont Morgan Collection reproduced in Bode: “The Collection of B 
in the J. Pierpont Morgan Collection,” Vol. II, Pl. 112, No. 158, in which the 


tion is very similar, 


ATTRIBUTED TO PIETRO TACCA 
No. 424-—A BRONZE LAMP (Florentine Early Seventeenth Century) 


“HERCULES AND. CAC us” 


Hercules, brandishing his club in his right hand, is, with his left hand, tr 
to force away from him the robber Cacus, who endeavors to pull his e 

to the ground. Hercules is nude but for his lion’s skin, which, in ee 
has slipped from his loins. Dark brown patina. 
Height, 1 
Purchased from Jacques Seligmann, Paris. c 


There are great similar ese ate group by Giovanni Bologna in the L 
resenting the same subject and reproduced i in pee “The Italian Bronze 
the Renaissance,” Vol. III, Pl. 198, ° 


ATTRIBUTED TO GIAN DA BOLOGNA 


No. 425—ITALIAN LATE SIXTEENTH CENTURY BRONZE GROUP: 
“HERCULES AND CACUS” 


oe sre 1 


426—A BRONZE GROUP REPRESENTING HERCULES SLAY 


Ne 


SCHOOL OF GIAN DA BOLOGNA 


THE HYDRA Florentine Late Sixteenth 


Standing, a massive nude form, Hercules holds a torch in his uplifte 
hand. With his left he has seized the head of the Hydra, with which | 
to crush the body of the giant hero. On an oval base. Fr eee 
Height, | 
Formerly in the L. L. Neumann Cree London, sold July 3, 1919, No. 

This group is a fine and interesting specimen and shows great analogies 
group in the Louvre by Gian Bologna representing the same subject, but i 


figure of the hydra is missing. (See reproduction in Bode: “The Teale B 
uettes of the Renaissance,” Vol. III, Pl. 199.) 


Ay, 


“a 


SCHOOL OF GIAN DA BOLOGNA 


No. 426—A BRONZE GROUP REPRESENTING HERCULES 
SLAYING THE HYDRA 


fee 


©! 


427—A BRONZE GROUP REPRESENTING JUPITER AND 


CLOSELY RELATED TO JACOPO SANSOVINO. 


EAGLE Italian Second Half of the Sixteenth 


The God, standing nude and at his full length, with his left hand to | 
and holding a thunderbolt in his right. His right foot is placed on 
of his emblematic eagle, who looks up as if prepared to do his biddir 
whole is placed on a quadrangular base ornamented on each side wi 
gon’s head set above a swag of foliage. Dark patina. cia 

Height, 


Purchased from Jacques Seligmann, Paris. 


This statuette, representing Zeus with his sacred and customary att 
very fine workmanship. It is interesting to compare with it a group represent 
same subject in the Imperial Museum in Vienna of the School of Jacopo Sanso 
produced in Julius von Schlosser: “Werke der Kleinplastik des Allerhéchsten 
hauses,” Vol): 1, PL XEX ANG ete ‘ 


CLOSELY RELATED TO JACOPO SANSOVINO 


No. 427—A BRONZE GROUP REPRESENTING JUPITER AND THE 
EAGLE 


Lee 


4283—ITALIAN BRONZE STATUETTE OF THE: “FARNESE 
HERCULES” 


Seen nude and standing at his full height, bearded and severe of aspect. His 
left foot advanced. His right hand placed behind his back. His left hand 


rests on the lion’s skin, which, placed upon his club, rests upon a tree trunk. 
Dark patina. 


Height, 15 inches. 
Purchased from S. E. Letts. 


This statuette is made after the Farnese Hercules in the National Museum at 
Naples which was found at Rome in the Therme of Caracalla in 1540. 


WORKSHOP OF GIAN DA BOLOGNA 


FOUR BRONZE GROUPS (ITALIAN LATE SIXTEENTH CENTURY) 
REPRESENTING THE LABORS OF HERCULES 


First—HERCULES SLAYING THE NEMEAN LION 
Second—HERCULES WRESTLING WITH THE CRETAN BULL 
Third—HERCULES AND THE LERNEAN HYDRA 
Fourth—HERCULES WRESTLING WITH ANTAEUS 


Nos. 429 to 432, inclusive 


The Labors of Hercules were a favorite subject with the artists of the Renaissance 
period and especially with the Florentine artists, such as Gian Bologna and his followers. 
The principal Museums and private collections possess groups representing these labors. Some 
of them are by Gian Bologna himself, others are made in his atelier, still others are by his 
followers or contemporaries. The examples mentioned above and illustrated in the following 
pages are characteristic of the workship of Gian Bologna, and examples of the same kind can 
be found in the National Museum in Florence, in the Louvre, in the Wallace Collection in Lon- 


don, in the Castello Sforzesco in Milan, and elsewhere. 


WORKSHOP OF GIAN DA BOLOGNA 


429 HERCULES SLAYING THE NEMEAN LION 
I ‘talian Late Sie 


s Hercules is ee naked, with short thick hair and beard. He is st n 

iv ing in an attitude of great tension, trying to tear open, with both hands, : 
mouth of the Nemean lion, which was considered invulnerable. The lion 

defending its life with its claws and is trying to pull Hercules down. Bri 


patina. Standing on a rectangular base. 


oT 


Height, 12% in 
Purchased from J. & S. Goldschmidt. S 


Reproduced in Bode: “The Ttalian Bronze Statuettes of. rhe Renna 
page 8, No. 11. 


WORKSHOP OF GIAN DA BOLOGNA 
No. 429—HERCULES SLAYING THE NEMEAN LION 


WORKSHOP OF GIAN DA BOLOGNA 


430—HERCULES WRESTLING WITH THE CRETAN BUlAm@ 
. Italian Late Sixteenth Centu 


Standing on a Fectananior base. 


Purchased from J. & S. Goldschmidt. a 


Statuettes of the Renaissance,” Vol. III, Pi. 199. @ ‘ee ~ 


WORKSHOP OF GIAN DA BOLOGNA 
. 480—HERCULES WRESTLING WITH THE CRETAN BULL 


sone 


43.—HERCULES AND THE LERNEAN HYDRA 


WORKSHOP OF GIAN DA BOLOGNA 


Italian Late Siateenth - 


Hercules is seen naked, with thick curly hair and short beard. He is: 
over the Hydra of Lerna in the act of giving it the final blow with 
which he is holding in the upraised right hand, while with the other 
is seizing the animal by its tail. Oe Ee Standing on a rec’ 
base. : 


Purchased from J. & S. Goldschmidt. 3 


Reproduced in Bode: “The Italian Bronze Statuettes of the Renaissance,” 
page 10, No, 13. 


It is interesting to compare this group a one representing the same s 
Gian Bologna, reproduced in the work by Bode Ses ie above, Vol. III, P : 


* 


we 


WORKSHOP OF GIAN DA BOLOGNA 
No. 431—HERCULES AND THE LERNEAN HYDRA 


0 
re 


432—HERCULES WRESTLING WITH ANTAUS 


WORKSHOP OF GIAN DA BOLOGNA 


Italian Late Sixteenth Centu 


The nude Hercules is represented standing with his legs wide apart, and 
his body thrown backward. His attitude shows great tension in his act ¢ 


tina. Standing on a triangular base. 
Purchased from J. & S. Goldschmidt. 
The composition of this group is exactly the same as the group representing t 


same subject in the Louvre and executed by Gian Bologna. Reproduced in Bode: “The 
Bronze Statuettes of the Renaissance,” Vol. ITI, Pl. 198. ‘ 


WORKSHOP OF GIAN DA BOLOGNA 
No. 432—HERCULES WRESTLING WITH ANTAUS 


CLOSELY RELATED TO BENVENUTO CELLINI 


433—A BRONZE STATUETTE REPRESENTING VENUS 


frees 


Florentine Second Half of the Sixteenth Century 


Venus is represented naked, standing on a sloping wavy base. Her beauti- 
fully shaped body is slightly thrown to the left, and the weight of it rests on 
her right leg. The Goddess appears here as rising from the sea, and as a 
reminiscence of it she is holding a.shell in her uplifted left hand. 


Height, 191% inches. 
Purchased from J. & S. Goldschmidt, December, 1911. 


This fine statuette is very near in type and attitude to the statuette of Minerva 
from the Heseltine Collection, London, given to Benvenuto Cellini, and reproduced in 
Bode: ‘The Italian Bronze Statuettes of the Renaissance,” Vol. II, Pl. 146. 


~’ CLOSELY RELATED TO BENVENUTO CELLINI 
No. 433—A BRONZE STATUETTE REPRESENTING VENUS 


ly 


ee 


CULES AND ANTHUS- 


Hercules is represented percine with his legs wide apart, his body throw 
backward, in an attitude of great tension. He is holding in a firm gr 
Anteus, whose strength was invincible as long as he remained in contact 
with the earth, and is ee him up from the earth 1 in order to dash him after- 


long base. 
Height, ey a 
The composition of this group is exactly the same as in the one in the Ed 
Simon Collection in Berlin, by Gian Bologna, representing the same subject and rep 
duced in Bode: “The Italian Bronze Statuettes of the Renaissance,” Vol. III, Pl. 


No. 434—AN ITALIAN BRONZE GROUP REPRESENTING 
HERCULES AND ANTAXUS 


AFTER ANTONIO RIZZO 


435—BRONZE STATUETTE REPRESENTING EVE 


Italian Late Sixteenth Century 


Eve is represented nude, standing on around base. Her right leg is advanced 
forward, and in her left upraised hand she is holding an apple. Her hair is 
parted in the middle and falls in loose curly strands over her back and shoul- 
ders. Part of it is twisted around her head. 

Height, 17 inches. 
Purchased from Charles of London. 


This statuette is made after the famous statue by Antonio Rizzo, representing 
Eve, in the Palazzo Ducale in Venice. The arrangement of the hair and the pose are 
identical, and the only difference consists in the position of the hands, which are in- 
verted. (See reproduction in Paoletti: “L’architettura e la scultura del Rinascimento 
in Venezia,” and in Venturi: “Storia dell’ Arte Italiana,” Vol. VI, page 1067.) 


THIRD AFTERNOON’S SALE 
FRIDAY, APRIL 6, 1928 


IN THE ASSEMBLY HALL 
OF 


THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 0O’CLOCK 


CATALOGUE NUMBERS 439 TO 615, INCLUSIVE 


MISCELLANEOUS OBJECTS 


B/O— 159 BRONY AND TORTOISE-SHELL WRITING BOX 
Flemish Early Eighteenth Century 


Oblong lifting top; enriched with tortoise-shell panels finished with ebony 
wave moldings. 
Height, 2% inches; length, 13% inches. 


75 — 440—KARLY AMERICAN LACQUER BOX 


Oblong lifting top, with incurving serpentined sides. Enriched with colored 
cut-outs of notable personages and scenes; on black lacquered grounds. 


Height, 5% mches; length, 11 inches. 


4/§ —441—BURL CHESTNUT COFFRET Louis Philippe Period 


Gondola shape, with ends folding over to form handle. Mounted in brass 
with anchor, cross and cable chain motives, pierced gallery, scroll and husk 


appliqués. Inscribed in French. 
Height, 9 inches; length, open, 27 inches. 


GO: 


uo 


GO. 


442 —GILDED LACQUERED WORK BOX 
Venetian Eighteenth Century 


Scrolled oblong domed cover, enriched in Chinoiserie and gilding with quaint 
subject, “The Queen of Sheba Visiting King Solomon,” and floral sprays. 
Shaped sides similarly decorated. On scrolled feet. 

Length, 101% mches. 


4483—GILDED LACQUERED WORK BOX 
Venetian Highteenth Century 


Similar to the preceding. Floral decoration. 
Length, 934 inches. 


444—GILDED LACQUERED WORK BOX 
Venetian Eighteenth Century 


Similar to the preceding; with figure and floral decoration. 
Length, 17 mches. 


445—MAHOGANY TEA CADDY Chippendale Period 


Oblong, with incurved dome-cover, having brass bail handle; swelling scrpen- 
tined sides. On inlaid molded base with bracket feet. 
Length, 104% wmches. 


DRAWING ROOM LAMPS 


45° 446—-MOUNTED CHINESE CLOISONNE LAMP AND SHADE 


32°: 


Oviform, with incurved neck and dragon-headed scroll handles; enriched 
with turquoise bandings at neck and shoulder bearing archaic cloud and 
other scrollings in lapis-blue, greens, reds, white; spear-motived valance below 
shoulder band. Mounted in cwivre doré with leaf moldings at crown and 
base. Champagne-colored silk shade. Fitted for electricity. 


Total height, 27 inches. 


447—MOUNTED CHINESE CLOISONNE LAMP AND SHADE 

: Ming 

Square, with straight sides and small round mouth; enriched on turquoise- 

blue with scrollings of lotus flowers, j’wi band at base and floral panel on 

red ground. Mounted in cuivre doré with rosette moldings at mouth and 

gadroons at base having leaf and claw feet. Fitted for electricity. Cham- 
pagne-colored silk shade. 

Total height, 231% inches. 


448—MOUNTED CHINESE PORCELAIN LAMP AND SHADE 
Chien-lung 


/2 Ie Oviform, with bulbous neck and spreading base. Penciled on fine white glaze 
in red and gold with j’wi lambrequin, fruit and flower sprays, bands at 
shoulder and foot, and small panels occupied by the symbols of the “Kight 
Precious Things.” Cuivre doré mountings, at neck with gadroonings, at 
base with ribbon-reeded and guilloched square plinth having leaf corners. 
Gold lace shade. Fitted for electricity. 

Total height, 41 inches. 


yiP- 449—CARVED AND GILDED LAMP AND SHADE 
Italian Eighteenth Century 


Torchere, with balustered shaft enriched with husks and leafage. Supported 


on similarly enriched scrolled tripod base. Crimson silk shade. Fringed. 


Total height, 34 inches. 


450—TWO CUIVRE DORE ELECTRIC LAMPS AND SHADES 
Lows XVI Style 


Tia Vase-shaped shaft, with twined acanthus-leaf branches and laurel-leaf finial; 
on molded round acanthus enriched base. Gold lace and yellow silk shade, 
festooned with ribbon flowers. 


geet 
ee 


Total height, 25 inches. 


451—CUIVRE DORE ELECTRIC LAMP AND SHADE 
Louis XVI Style 


Standing figure of a nymph supporting basket on her head, with arms for 
lights. On round varicolored marble base and square plinth. Yellow silk 
shade, trimmed with gold lace. 


4 7q Or. 
Total height, 34 inches. 


452—POLYCHROMED GILDED ELECTROLIER 
Italian Renaissance Style 


70: 


Standing figure of a winged amorino holding aloft a cornucopia fitted for 
electricity. On molded square base, enriched with shell motives and heads of 
putti. Composition finished in flesh tints and gilding. 

Height, 1614, inches. 


SPANISH, FLEMISH AND ITALIAN FIGURINES AND 
OTHER OBJECTS IN CARVED WOOD 


ee 4583—CARVED WALNUT BELLOWS Italian Renaissance Style 


Pear-shaped. Enriched with festooned mask and scrolled demi-nymphs. 


Length, 19 inches. 


cite 
454—TWO CARVED AND GILDED CHERUBIM 
We Spanish Seventeenth Century 


Winged, voluminously robed cherubim, standing on cloud forms and carry- 


ing censers. 
Height, 51% inches. 


5 aa 
35 
p. 455—TWO POLYCHROME STATUETTES 
7 Spanish Seventeenth Century 


Cupidons in dancing attitudes. Naturalistically colored. 
Height, 834 inches. 


gO. 456—CARVED OAK PANEL Flemish Renaissance 
Medallioned bust, supported by cupidons standing within a strap-scrolled 
cartouche. 


Height, 10 inches; width, 8 imches. 


6) C 
/ °° 457—POLYCHROME GILDED STATUETTE 
Spanish Seventeenth Century 


“St. John.” Standing, wearing ivory alb and embroidered black and gold 


mantle. 
Height, 1384 inches. 


ek 
458—CARVED POLYCHROME GILDED FIGURINE 
Spanish Seventeenth Century 


“Pilgrim.” Carrying a bag over shoulders and wearing gold-embroidered 
black robes. 
Height, 10 inches. 


De 
459—SCULPTURED POLYCHROME BUST Italian Renaissance 


“St. John Baptist.” * Head, with curling hair, slightly cast downward; fin- 
ished in natural colors. On carved, gilded and molded base, enriched with 
rosettes, fruit, scrollings and stump feet. 

Height, 12 inches; width, 10 inches. 


90, 460—POLYCHROME CARVED FIGURE = Spanish Seventeenth Century 


Figure of Cupidon. Standing on three winged cherubs’ heads and scrolled 
acanthus-leaf base. 
Height, 29 inches. 
55°" 
461—TWO CARVED AND GILDED BRACKETS Italian Renaissance 


Molded shaped top; supported by two garlanded cupidons standing on a vase 
form. 


7 Oo. 
Height, 12 inches; width, 10 inches. 


462—IVORY INLAID ROSEWOOD COFFRET 
Italian Seventeenth Century 


A 
oO, 


Semicircular hinged top, alternately inlaid with small triangular motives of 
ivory and rosewood. Oblong body, inlaid with diamond panels of ivory en- 
graved with hound and spandrils of flowers. On button feet. Interior lined 
with crimson damask. 

Height, 10 inches; length, 174 inches. 


. 468—CARVED AND GILDED POLYCHROME MISSAL STAND 
/ 7, Italian Renaissance 


Open oblong adjustable rest. Enriched with scrollings and winged cherub- 
head in pediment, valanced base embellished with cartouches, acanthus rin- 
ceaux and double displayed eagles at corners standing on bulbous forms. 


18 inches square. 


I A eee 


7b, 464—TWO CARVED AND GILDED FIGURES 
Italian Eighteenth Century 


Lightly draped figure of winged cherub. Kneeling on one knee in the atti- 
tude of singing. 
Height, 18 imches. 


465—TORTOISE-SHELL INLAID ROSEWOOD CABINET 
g 0. Spanish Seventeenth Century 


Oblong. Fitted with ten wave-molded drawers in amber tortoise-shell. Ar- 


chitectural motive in center. 
Height, 15 inches; length, 24 inches. 


466—POLYCHROME CARVED AND GILDED STANDING MIRROR 


Italian Renaissance 


5 g 0. Oval molded opening, with strap arabesque scrollings, centered with amorint 
at sides and masks at crown and foot. On oblong base. 


Height, 2014 inches; width, 144% mches. 


467—INLAID WALNUT CHEST Flemish Seventeenth Century 


p>: Molded oblong domed lifting top. Fitted with massive secret lock. Front 
| inlaid with figures of two coopers working on a barrel. 


Height, 121% inches; length, 21 iches. 


468—INLAID PIETRA DURA EBONY CABINET 
40 i Florentine Renaissance 


Oblong. Enclosed by two doors, enriched on exterior with panelings of ivory 
lines, on the interior with ivory scroll panels embellished with carnelian medal- 
lions. Fitted with upper compartment simulating three drawers and eight 
irregular drawers similarly adorned to interior of doors and parted by por- 
phyry columns having cuivre doré capitals and surmounting mythological 
figures. The central drawer bears a fine intaglio agate coat-of-arms. The 
domed top, with sliding panel, is hinged and discloses a painting in oil of a 
cavalier, surrounded by similar scrollings to drawers. Supported on molded 
base with long drawer and hexagonal rose marble feet. 


Height, 21 inches; width, 191% inches. 


Note: These Florentine Pietra Dura Cabinets were mainly made at the atelier of 
and under the direct patronage of the Medici family. 


00 


“4 469—CARVED WALNUT CASSONE Italian Renaissance 


Dentil-molded oblong lifting top; finely paneled front and ends. Enriched at 
corners with winged and bracketed demi-nymphs. Supported on deeply 


molded base with paw feet. 
Height, 15 inches; length, 251% inches. 


ITALIAN BRONZE AND IRON ANDIRONS 


ep ae ie 
44/9- «470—PAIR OF ITALIAN GOTHIC WROUGHT-IRON TRIPOD 
CANDELABRA 


Each has a plain shaft with a rectangular knop in the center; an openwork 
revolving ring top, ornamented in archaic designs and holding a stitchet can- 


dlestick. The feet are plain and form a tripod. 
Height, 5 feet 6 inches. 


ee 471—PAIR OF FRENCH RENAISSANCE ANDIRONS 


A mace-like shaft with a knop terminating in an eight-lobed ornament which 
bears four grotesque heads; below is an armorial shield. The base is square 
in front and is formed of the head of a Satyr with the head of a faun on either 
side of it. 

Height, 30 inches. 


D0 
/] / D 472—GILDED BRONZE FIRE TOOLS Italian Renaissance 


Shovel and tongs of black iron, finished with gilded male and female busts. 


Length, 39 inches. 


a oe ay L. & 


73 - 
is 473—PAIR OF ITALIAN RENAISSANCE BRONZE ANDIRONS 


Each is composed of a full-length female figure, without arms but with nude 
breast; an acanthus-leaf girdle below the waist; the feet pointing outward 
and fettered. Each stands on an ornamental openwork base. 


Height, 33 inches. 


42°'s74 TWO GILDED FIRE TOOLS Piahate Reni aince 


Shovel and tongues. Finished with gilded figure of an amorino. Utensils of 
a later period. 


Length, 32 inches. 


ape 


BY A FOLLOWER OF ALESSANDRO VITTORIA 4 
POSSIBLY BY TITIANO ASPETTI to 


475—A PAIR OF ANDIRONS REPRESENTING “WAR” AND _ 


“PRACE” Venetian Early Seventeenth Century — 


First: The andiron representing War shows Mars, the God of War, in a 
richly ornate armor standing upon a support with crossed legs and holding ~ 
with both hands a musket placed before him. The support is formed of 
three winged female caryatid figures and masks and on the tripod base are 
seen seated putti holding in their upraised hands lighted torches. They are — 
seated on scrolls terminating in lions’ bodies, and between them are seen ero ies 
tesque masks, bearded, and surrounded with foliage. 
Srconp: The andiron representing Peace shows the same base and pedeste 
as the preceding one. The statuette of Peace surmounts the whole and shows | 
a draped female figure holding in her right hand an inverted torch while in 
her left was probably originally a cornucopia. Her head is slightly turned — 
toward the left. eet 
Height, 41 inches; width at base, 191% ime 


the J. Pierpont Morgan Collection, and equally representing War and Peace. — 
duced in Bode: “Bronzes in the Collection of J. Pierpont Morgan,” Vol. II, Pl. 1. 
Nos. 193-194. As for the lower part of the andirons, they are almost identical wi 
irons in Vienna, reproduced in Planiscig: “Die Venezianischen Bildhauer of die 
sance,” page 492, and given to the school of Alessandro Vittoria. 


_ The possible execution of these andirons by 'Titiano Aspetti is based on t 


_ that they show a close relationship with his works. The figures both of War and ae 


are very similar to the ones representing Mars and Minerva in the Budapest Mus 
reproduced in Leo Planiscig: “Die Venezianischen Bildhauer der Renaissance,” pa 56 


Other works by Titiano Aspetti showing a relationship with the figures here reproduce 
are shown in the above-mentioned work. pe 


VENETIAN EARLY SIXTEENTH CENTURY 


No. 475—A PAIR OF ANDIRONS REPRESENTING “WAR” AND 
“PEACE” 


Loe. 


476—PAIR OF SIXTEENTH CENTURY VENETIAN ANDIRONS 
Executed by Alessandro Vittoria 


On the capital of a spiral column, which has as its base a mythical beast with 
extended paws, sits a nude male child figure holding a torch in his right hand. 
The little figure surmounting the companion andiron holds a fan in his left x 
hand. Finished in a brown patina. 


GOTHIC SIXTEENTH AND SEVENTEENTH CENTURY 
EMBROIDERIES, CHASUBLES AND COPES 
-O- 
) 
ci 477—GOLD-EMBROIDERED BRUSSA VELVET COVER 
Rouge-de-fer velvet of fine radiance. Enriched solidly with gold threads; 
displaying tulip-wreathed medallion occupied by jardiniére of flowers, sur- 
rounded by beribboned trailing vines of further flowers. Deep floral border 
and vine and leaf guards. 
2 2/3 yards by 21% yards. 


Be ERED ERED IVORY SATIN COVER 
Louis XV’ Period 


Rich ivory satin, enriched with sprays of flowers in colored silks and gold 
threads. ‘Trimmed with wave-patterned gold lace. 


1 yard 33 inches by 12 inches. 


3 479—SILVER-INCRUSTED VELVET BOX Gothic Period 
0, 


Arched cover. Crimson velvet, enriched with pierced silver displaying curious 
animalistic circular medallions and _ scrollings. 


Height, 7 inches; length, 934 inches. 


480—GOLD AND SILVER EMBROIDERED VELVET COVER 
eae Persian Seventeenth Century 


Ruby-crimson velvet, enriched with finely scrolled lotus flowers amidst which 
are birds. Executed in gold threads and colored silks. Trimmed with gold 
and particolored fringe. 

AT inches by 29 inches. 


481—CISELE GOLD AND CRIMSON VELVET COVER 
or oe Rhodian Siateenth Century 


Rose-crimson. Woven with sun and moon disks impaled on one another; exe- 
cuted in gold and silver threads. Arcaded end borders of tulip and carnation 
sprays alternately with gold and silver grounds. 

1 yard 3 inches by 25 inches. 


30 0. 482—SILVER-EMBROIDERED YELLOW VELVET COVER 
Ttalian Seventeenth Century 


Ruglike motives. Center displaying dainty scrolled medallion with long pen- 
dentives and similarly scrolled corners in raised silver bearing sprays of pome- 
granates and roses in pale pink. Leaf scroll border of silver and similar flow- 
ers to center. Rare fluctuating amber-toned velvet. 

114 yards by 27 inches. 


From the Vitall Benguiat Collection, American Art Association, 1919. 


Ss 
et LS AN a rhe 65 


ie 483—SILVER-EMBROIDERED YELLOW VELVET COVER 
Italian Seventeenth Century 


Similar to the preceding. 


From the Vitall Benguiat Collection, American Art Association, 1919. 


484—_ JEWELED EMBROIDERED CLOTH-OF-GOLD MITRE 
Italian Seventeenth Century 


Conventional shape. Enriched with scrollings of leaves, wheat and husks, 
adorned with purple, red and green jewels on both sides. Executed in threads 
of gold on ivory cloth-of-gold. ’wo long pendants at back similarly em- 
broidered. 


485—GOLD NEEDLE-PAINTED HOOD Italian Sixteenth Century 


] BOs “St. John the Baptist Preaching in the Wilderness.” The noble figure of the 
Saint stands in the foreground of a hilly, desolate country. Solidly executed 
in mellow colored silks and passages of gold threads. Trimmed with gold lat- 
tice fringe. 


486—GOLD-EMBROIDERED IVORY SATIN HOOD 
French Eighteenth Century 


4q0- 


Oblong, scroll-pointed at foot. Enriched with effigy of the sacred Lamb in 
silver, surrounded by floral scrollings in raised gold. Trimmed with latticed 
and tasseled gold fringe. 


487—GOLD NEEDLE-PAINTED CRIMSON VELVET HOOD 
Spanish Sixteenth Century 


q 5° Oblong, scrolled at foot. Enriched with two needle-painted oblong panels 
displaying figures of Saints Martha and Peter standing within niches. The 
panels parted, surmounted and pendented with rare raised gold husk and leaf 
scrollings. Exceptionally well trimmed with crimson and gold cords and tas- 
sels at sides and foot, also with further cords and tassels for suspension. 


b 


488—GOLD NEEDLE-PAINTED CRIMSON VELVET HOOD 
4,75 ‘ Spamsh Sivteenth Century 


Similar to the preceding. With St. Magdalene and St. John the Evangelist 
in the panels. 


489—GOLD NEEDLE-PAINTED ORPHREY Italian Renaissance 


/ OS: The Madonna holding the Saviour on her left arm, standing within a columned 
niche. Executed in colored silks and gold threads. 


Height, 12 inches; width, 8 inches. 


490—GOLD NEEDLE-PAINTED HOOD ON CRIMSON VELVET 


g6°, 


491 


6°. 


VALANCE Italian Renaissance 


Exquisitely wrought hood. In fine gold threads with delicate passages of 
crimson, green and blue silks, displaying subject, “The Children of Israel 
Fed by Manna in the Wilderness,” beautifully canopied by an arched arcade 
having numerous pendentives. Trimmed with crimson and gold fringe. Val- 
ance of contemporary close-pile, fluctuating deep crimson velvet. ‘Trimmed 
with gold galloon, fringe, crimson cords and tassels at ends. 


Length, 1 yard 31 inches; depth, 22 inches. 


From the Vitall Benguiat Collection, American Art Association, 1919. 


—TWO GOLD NEEDLE-PAINTED ORPHREYS 


po oe Italian Renaissance 


Rich ruby velvet, displaying two oval medallions, occupied by figures of saints, 
interrupted by scrollings of Gothic leafage, jardiniére of fruit, dolphin heads 
and birds. St. George and St. John in one, and St. Catherine of Siena and St. 
Sebastian in the other. Ribbon and rosette borders. 

Length, 1 yard 5 inches; width, 9 inches. 


From the Vitall Benguiat Collection, American Art Association, 1919. 


492—GOLD-EMBROIDERED CRIMSON VELVET CHASUBLE 


27°" 


Italian Renaissance 


F'lame-rose velvet with fluctuating areas. Orphreys adorned in appliqué yel- 
low and ivory silks having passages of green, blue and gold threads; display- 
ing jardinicres of fruit supported on reversed Gothic leaf scrollings; rare 
husk border. Trimmed with gold galloon. Reverse orphrey worn. 


4983—GOLD NEEDLE-PAINTED DAMASK CHASUBLE 


7 5. 


Italian Renaissance 


Paneled orphreys, presenting figures of Saints Francis, Peter, John and An- 
drew standing within scroll canopied and columned niches; executed with 
gold diapered backgrounds and colored silks. Trimmed with gold embroid- 
ery simulating galloon. Rose-pink floral damask field; trimmed with galloon. 


494—GOLD NEEDLE-PAINTED VELVET CHASUBLE 


4b: 


Italian Renaissance 


Paneled orphreys, displaying figures of Our Lord and the Apostles Peter, 
John and Mark standing within columned leaf-scrolled niches. Executed in 
varied stitches of gold threads and colored silks. Field of rich crimson velvet. 
Trimmed with gold galloon. 


495—GOLD NEEDLE-PAINTED VELVET CHASUBLE 
Spanish Sixteenth Century 


400. Paneled orphreys, in colored silks and gold threads, displaying figures of 
Saints George, Peter, Sebastian, Matthew and the Holy Virgin in rondel; the 
others standing within columned and scroll canopies surmounted by Gothic 
leafage in gold and silver threads. Lustrous close-pile wine-red velvet flank- 
ing panels. Trimmed with gold galloon. 


496—GOLD BROCADE CHASUBLE . Seventeenth Century 


)/0. Golden-yellow field and orphreys; beautifully woven with sprays of pomegra- 
nates and flowers on rustic stems. Executed in threads of silver, gold and 
pastel colored silks. Trimmed with silver galloon. 


497—GOLD NEEDLE-PAINTED VELVET CHASUBLE 
Spanish Sixteenth Century 


IPD. Orphreys in raised gold and silk threads, displaying four three-quarter-length 
figures of saints and a royal Spanish coat-of-arms within oval medallions in- 
terrupted by jardinicres of fruit, leaf and husk scrollings. Ruby-wine col- 
ored velvet flanking panels embossed with floral cruciform devices within 
chevroned interlacing circular motives. Trimmed with crimson and gold 
edging. 


498—DRAP D’OR BROCADE CHASUBLE 
Venetian Seventeenth Century 
GQ. f- Rich yellow cloth-of-gold. Woven with highly conventionalized pomegranate 


sprays, scrolled leafage and dainty vines of flowers. Executed in old-red, 
pink, blues, green and silver threads. Trimmed with silver lace. 


499—GOLD NEEDLE-PAINTED VELVET CHASUBLE 
Flemish Sivteenth Century 


6) ee Orphrey on front in form of a crucifixion surmounted by an eagle and flanked 
by cherubs; below in a windowed niche is the Holy Virgin and at foot the 
Magdalene, surmounted by a fleur-de-lis. Old wine-red velvet field, adorned 
with cathedral bells, winged angels and curious floral motives, in colored 
silks and gold threads. Orphrey on reverse with three figures of saints within 
niches. ‘Trimmed with green silk border. 


500—CISELE CRIMSON VELVET COPE Karly Italian Renaissance 


Orphreys and hood, of gold bouclé apricot-pink brocade displaying scrolled 
/ 0°° pineapple devices; trimmed with crimson and gold tassels and edging. Yield 
I of double piled ciselé velvet enhanced with conventionalized, wreathed-ogivals 
entwined and surrounded by beautiful sprays of fruit. Woven in two tones 

of rare fluctuating flame rose-crimson velvet. Interesting silver morse. 


Length, 3 yards 7 inches; depth, 1 yard 2 inches. 


501—GOLD NEEDLE-PAINTED VELVET COPE 
Spanish Sixteenth Century 


40°: 


Paneled orphreys; in gold threads and passages of colored silk, displaying 
figures of Saints Catherine, Nicholas, Matthew, Peter, James the Less and 
John, standing under arched canopies surmounted by cartouches and floral 
scrollings. ‘Trimmed with gold embroidery simulating galloon. Field of 
fluctuating flame-rose velvet, impressed with mark of previous embroidery 
toward foot. 

Length, 3 yards 5 inches; depth, 1% yards. 


(Illustrated) 


€d00 LAATHA GALNIVd-AIGAAN ATOD—1OE ON 
AYWOLNAO HINAHALXIS HSINVdS 


THE SUPERB POPE SIXTUS IV COPE 


502—GOLD NEEDLE-PAINTED BOUCLE DRAP D’OR RUBY 


VELVET COPE Venetian Gothic 


Orphreys very finely wrought in colored silks and gold threads; displaying 
crocketed Gothic canopies with slender columns, occupied by standing figures 
of Saints Peter, Francis, John, George, Nicholas and Martha. Beautiful 
original hood, excuted in the manner of the orphreys with triple canopies and 
tesselated floor occupied by subject, “The Annunciation”; the Holy Spirit is 
seen at upper left, breathing the breath of life on the Virgin. At the foot of 
the hood is Sixtus’s coat-of-arms bearing a scroll-branched tree and mantled 
with his cardinal’s tasseled hat. Field of pellucid rose-ruby velvet of rare 
close texture and beautiful radiance; woven in fine threads of gold, bouclé 
at centers of floral motives, exhibiting conventionalized carnations, each with- 
in two delicately ciselé lobed devices and growing from exceptionally well- 
drawn supporting sprays of acanthus leaves occasionally bearing further 
flowers and clustered pomegranate motives. 


Length, 3 yards 6 inches; depth, 12/3 yards. 
Note: This marvelous cope is not. only a tribute to the genius of the Venetian 
weaver, but to the great designer, probably Mantegna, and the embroiderer. It was orig- 


inally worn by Pope Sixtus IV (1471-1484), who was a member of the noted Della 
Rovere family, which gave two popes and a dozen or more cardinals to the Church. 


(Illustrated) 


Ad00 LAATHA ATAU YOd dVUd AINOF GALNIVd WICHAN @TIO9N—<20s “ON 
JIHLOD NVILANHA ‘AdOO AI SOLXIS UdOd AHAHdNAS GAL 


2) 


90°" 


foo 


405 


5083—GOLD NEEDLE-PAINTED CISELE VELVET COPE 


504—GOLD-EMBROIDERED COPE Venetian Seventeenth C 


505-—-GOLD NEEDLE-PAINTED ALTAR FRONTAL 


Venetian Gothic “a 


Paneled orphreys, skilfully wrought in gold threads and passages of colored — a 
silks with elaborately pinnacled and columned Gothic canopies in finely raised 
gold, enclosing standing figures of saints; finished with gold embroid 
simulating galloon. Hood wrought in similar rich manner with subject, 
Annunciation of the Virgin.” Tield of fluctuating, close-pile flame 
ciselé velvet, displaying varied pineapple and pomegranate motives y¥ . 
and surmounting delicately cut lobed ogivals. ‘Trimmed with gold galloo ae 


Length, 3 yards 6 inches; depth, 1 2/3 1 


(Illustrated) 


Rich mesh patterned Havana brown silk. Beautifully enriched with 
ruined architectural scenes delightfully scrolled with large flowers a 
Executed in mellow colored silks and profuse passages of gold. ' 
with gold edging. eee 
Length, 3 yards 7 inches; depth, 1 yard 21 


Spanish Renais 
Close-pile rose-red velvet, enriched with four scrolled panels enclos Ing 
medallions occupied by standing figures of St. John, the Virgin, the § 


and a Calvary. Executed in yellow silk appliqué, gold and colc 
threads. 


4dO0)0 LAATHA ATASIO GALNIVd-TIGHAN GTOD—E0E “ON 
JIHLOSD NVILANGA 


sa ae | — 


JI 59g PERSIAN BROCADE PRAYER PANEL Sixteenth Century 


Deep rose-crimson mihrab. Enriched with hanging lamp bouquet and scroll- 
ings of flowers in golden-yellow touched with passages of pale blue, green 
and ivory. Spandrils and spirally twisted columns similarly embellished to 
mihrab and crowned with narrow inscribed panel of lozenges. Green paneled 
major border of ogivals enclosing golden-yellow and crimson sprays of flow- 
ers at crown and foot, at sides with delicate pink in place of crimson. Tulip 
and carnation scrolled yellow guards at sides. Crimson stripes at crown and 
foot. Glass case for same. 

Height, 5 feet 4 inches; width, 3 feet 11 inches. 


600. 
507—GOLD AND SILVER EMBROIDERED VELVET HANGING 


OTS 


372. 


FO, 


AGO. 


ITALIAN, SPANISH AND FRENCH HANGINGS, 
PORTIERES, LAMBREQUINS AND CURTAINS 


Spansh Seventeenth Century 


Lustrous rich crimson velvet, elaborately modeled in raised stitches of gold 
and silver with coronetted double displayed eagle standing on a scrolling of 
husks developing acanthus leaves, further husks and flowers which ramify 
the entire field. Trimmed with deep fringe and guipure border. 


Depth, 1 yard 10 inches; length, 3 yards. 


508—JARDINIERE VELVET COVER Genoese Seventeenth Century 


Silvery ivory ground, woven in soft apricot, pinks, pastel greens, yellows and 
lavender with charming vaselike feather motives interrupted by rare sprays of 
peonies. ‘Trimmed with varied tasseled multicolored fringes. 


234 yards by 2 yards 2 inches. 


509 -GOLD-EMBROIDERED SAPPHIRE-BLUE VELVET BOR- 


DER Italian Sixteenth Century 


Rare fluctuating sapphire velvet. Enriched with floral medallions and ara- 
besque scrollings occasionally touched with greenish-yellow silk. Trimmed 
with gold embroidery simulating galloon. 

Length, 2°4 yards; depth, 8 inches. 


510—GOLD-EMBROIDERED VELVET BORDER _ Italian Renaissance 


Lustrous sapphire-blue velvet; enriched with scrolled circular medallions 
interrupted by Gothic leafage. Trimmed with embroidery simulating gal- 
loon. 

Length, 1 yard 32 inches; width, 91% inches. 


511—SILVER-EMBROIDERED VELVET VALANCE 


Italian Sixteenth Century 


Lustrous rose-crimson velvet. Enriched in skilfully raised silver threads with 
inscription interrupted by a coronetted monogram, M A., and flanking floral 
panels. Trimmed with embroidery simulating gold galloon and deep fringe. 


Length, 2 yards 16 inches; depth, 15 inches. 


512 -GOLD-EMBROIDERED SAPPHIRE-BLUE VELVET HANG- 
ING Italian Eighteenth Century 


Ga Lustrous fluctuating sapphire-blue velvet. Enriched with coronetted and 
draped oval medallion bearing a Latin inscription; flanked by acanthus-leaf 
scrollings, corners of honeysuckle motives, borders at sides and foot with fur- 
ther honeysuckle motives within strap lozenge panels. Executed in raised 
gold threads with passages of silver. Trimmed with gold cords and tassels 


and deep fringe at foot. 
Length, 5 yards 26 inches; depth, 1 yard 28 inches. 


(Illustrated) 


5183—GOLD-EMBROIDERED SAPPHIRE-BLUE VELVET HANG- 
Go: ING Italian Eighteenth Century 


Similar to the preceding. 
Length, 5 yards 28 inches; depth, 1 yard 28 inches. 


514—GOLD-EMBROIDERED SAPPHIRE-BLUE VELVET HANG- 
5O: ING Italian Eighteenth Century 


Similar to the preceding. With two large floral devices on field and border 
at foot only. 
Length, 2 yards 16 inches; depth, 1 yard 28 inches. 


fd 5, 515—SAPPHIRE-BLUE BORDER Spanish Seventeenth Century 


Pulsating heavy-pile sapphire velvet of remarkably varied shimmering gem- 
like tones; waved at foot. Paneled and trimmed with patterned gold gal- 
loon and fringe. 

Length, 7 yards 32 inches; depth, 1314 inches. 


516—SAPPHIRE-BLUE VELVET HANGING 
| Spanish Seventeenth Century 
Rare lustrous sapphire velvet, pulsating with lighter gem-like tones. En- 


riched with circular medallion enclosing sacred monogram, M.A.; executed 
in finely patterned gold galloon. 


Tou 


Length, 2 yards 5 inches; width, 134 yards. 


430 0 :517—EMBROIDERED CRIMSON VELVET LAMBREQUIN 
Italian Renaissance 


Tripaneled with galloon, and embroidered in yellow silk a 


ppliqué with Gothic 
leaf scrollings. ; 


Length, 66 inches; depth, 24 inches. 


(funqua yzusajy6rq) OSNIONVH LAATAA AO1d-AUIHddVS GHUACIONANA AION els ON 


315 


50. 518—TWO CRIMSON VELVET PORTIERES 
7 Italian Seventeenth Century 
Rich heavy-piled rose-crimson velvet. Trimmed with earlier patterned gold 


galloon. Lined with crimson floral brocatelle. 
Length, 4 yards; width, 1% yards. 


519—TWO CRIMSON DAMASK PORTIERES 
a GO- 45° ie Italian Seventeenth Century 
Rose-crimson; woven with pomegranates and large canopies of acanthus 
leaves. Trimmed with gold galloon, cords and tassels. 
Length, 2 yards 8 inches; width, 11/3 yards. 


520 FOUR CRIMSON DAMASK PORTIERES 
ae Italian Seventeenth Century 
Similar to the preceding. Length, 2 yards 8 inches; width, 1 1/8 yards. 
521—FOUR CRIMSON DAMASK PORTIERES 
ah Italian Seventeenth Century 


0: ee 
a8 Similar to the preceding. Length, 2 yards 8 inches; width, 27 mches. 
522—TWO CRIMSON GENOESE VELVET PORTIERES 
715 ra Siateenth Century 
5d O° Rose-crimson, cut and uncut velvet. Displaying beautiful lyre-shaped mo- 


tives of husks and acanthus leaves, festooned with flowers; on embroidered 
golden-yellow backgrounds. ‘Trimmed with crimson silk fringe. Lined with 
crimson silk. 
Length, 2 yards 25 inches; width, 1 yard 10 inches. 
ek ee 

60° 523—TWO CRIMSON GENOESE VELVET PORTIERES 
Similar to the preceding. Somewhat later in weaving and having golden silk 
backgrounds. 
450” 

FHT ee tN ES, CRIMSON GENOESE VELVET PORTIERES 


Similar to the preceding. 


FS oe CRIMSON VELVET PORTIERE 
Florentine Sixteenth Century 


‘Tri-paneled rose-crimson velvet. Enriched in appliqué yellow and tan silks 
having frequent passages in soft-colored silk threads with scrollings, vase- 
like motives and flowers. Trimmed with deep crimson fringe. 


Length, 2 yards 30 inches: width, 1 yard 30 inches. 


Heo) A. Porter ——__ ae 6 as 4004 
476A. @ = et 


Oe 
526—FOUR IMPORTANT GENOESE VELVET PORTIERES 
Early Sixteenth Century 


Lustrous soft rose-crimson, of close-pile cut and uncut velvet; displaying 
magnificent infloretted bouquets of flowers, supported on diaperea panneaux 
and scrolled leafage; on golden yellow silk grounds. 


Length, 4 yards 3 inches; width, 29 inches. 


oe 
pO: 527—-FOUR IMPORTANT GENOESE VELVET PORTIERES 
Early Sixteenth Century 
Similar to the preceding. 
aaa 
0 5283—FOUR IMPORTANT GENOESE VELVET PORTIERES 
b Early Sixteenth Century 


Similar to the preceding. 


529—IMPORTANT GOLD AND SILVER EMBROIDERED HANG- 
ING Spanish Seventeenth Century 


Bout Rich rose-red velvet. Embellished with double displayed eagle standing on 
scrollings which ramify the remainder of the field. Remarkably executed in 
highly modeled raised threads of silver and gold. ‘Trimmed with rope 
edging and deep gold fringe. 

Length, 3 yards; depth, 1 yard 10 inches. 


-5830—TWO VELVET BROCADE BAY WINDOW CURTAINS, SIX 
TAFFETA CURTAINS AND LONG LAMBREQUIN 
Louis XVI Period 


Velvet brocade curtains woven with diamond trellis of acorned oak leaves and 
laurel leaves in two tones of green enclosing sprays of crimson berries, on 
ivory grounds. ‘Trimmed with tasseled fringe. Long festooned lambrequin 
of similar velvet brocade, trimmed with seven pairs of tassels and fringe. 
Green taffeta curtains of a later period, finished with fringe. Eight finely 
tasseled curtain loops. _ 


Bx HOO + 


Brocade: Length, 4 yards; width, 29 inches. 
Taffeta: Width, 1 yard 20 inches. 


531—_FOUR VELVET BROCADE AND FOUR TAFFETA CUR- 
TAINS, AND TWO ARCH-FESTOONED LAMBREQUINS 
Louis XVI Period 


Similar to the preceding. 


Height, including lambrequin, 3 yards 30 inches; width of brocade, 29 inches; 
taffeta, 1 yard 17 mches. 


532—TWO BROCADE ALCOVE CURTAINS AND LAMBREQUINS 
/ Bi In the Louis XVI Manner 


Honeycomb patterned blush apricot field beautifully woven with rustic 
branches of trees festooned with tasseled blue drapery bearing large and small 
pink roses and occasional shrubs of red berries. Festooned and fringed lam- 
brequins woven in similar manner and continuing into curtains. ‘T'wo finely 


tasseled curtain loops. 
Length, 334 yards; width, 1 yard 7 inches, 


Note: The brocade for these superb curtains and the following curtains was woven 
at Mr. Salomon’s order in France and the choicest old patterns were searched out 


before this charming pattern was selected. 
(Companions to the following) 
60% 


4 ) OF 588—SIX BROCADE CURTAINS AND THREE LAMBREQUINS 
| In the Louis XVI Manner 


Champagne-colored field damassé with floral motives in lighter tone. Fin- 
ished with broad borders matching the previous alcove curtains. Fringed, 
festooned and tasseled lambrequins. Six finely tasseled curtain loops. 


Length, 334 yards; width, 1% yards 
g ¥ 29 


(Companions to the preceding) 


5384— FOUR BROCADE CURTAINS AND TWO LAMBREQUINS 
HO 0: Oe a In the Lows XVI Manner 
aL 


Similar to the preceding. 


(Companions to the preceding) 


585—FOUR BROCADE PORTIERES AND TWO VALANCES 
1d eke 9 Cs In the Louis XVI Manner 


Similar to the preceding. 


(Companions to the preceding) 


5386—TWO VELVET EMBROIDERED CLOTH-OF-GOLD POR- 


3 50: TIERES Spanish Renaissance 
Hee “~ Golden-yellow cloth-of-gold. Enriched in crimson velvet appliqué with 
+ scrolled and cartouched bouquets of flowers, outlined with gold cord. 


Trimmed with crimson fringe and deep old gold fringe at foot. 


Legth, 3 yards 8 inches; width, 2 yards 8 inches. 


Poo ete 
587—TWO VELVET EMBROIDERED CLOTH-OF-GOLD POR- 
TIERES Spanish Renaissance 
Similar to the preceding. 
Length, 3 yards 8 inches; width, 1 yard 4& inches. 


4 a 5 C4. 
U5 0. 5388—TWO VELVET EMBROIDERED CLOTH-OF-GOLD POR- 
TIERES Spanish Renaissance 
Similar to the preceding. With attached two-point fringed valances of the 


same embroidery. No deep fringe at foot. Lined with earlier crimson bro- 
catelle having similar fringed valance. 


Length, 3 yards 16 inches; width, 1 yard 4 inches. 


5389--TWO VELVET EMBROIDERED CLOTH-OF-GOLD POR- 
O 2201 E : 
ULO , TIERES Spanish Renaissance 


Similar to the preceding. Lined with blue floral armure. 


540—VELVET EMBROIDERED CLOTH-OF-GOLD LAMBRE- 
QUIN Spanish Renaissance 


Similar to the preceding. Composed of ten Vandyke points. Trimmed with 
patterned gold galloon and fringe. 
Length, 5 yards 28 inches; depth, 28 inches. 


Zao. 


425 541—ROSE-RED DAMASK BALDACHINO Italian Seventeenth Century 
Lustrous two-toned silk, with flame-like areas. Woven with large vase-shaped 


acanthus leaves supporting bouquets of highly conventionalized flowers. 


Length, 3 yards; width, 3 yards 10 inches. 


' 542—ROSE-RED DAMASK BALDACHINO Italian Sixteenth Century 


Two-toned rose-red. Woven with leaf and scroll ogivals enclosing finely 
infloretted bouquets of flowers. Trimmed with crimson latticed and tasseled 
Vandyke fringe. 

2 yards 21 inches by 2 yards 16 inches 


4, 


5483—PERSIAN HUNTING RUG ~— _ Siwteenth C 


ANTIQUE RUGS OF THE SIXTEENTH, SEVENTEENTH 
EIGHTEENTH CENTURIES 


Florally scrolled-damassé rose-crimson ground; woven in blue, yellow, | 
green, old pink and ivory with arabesque scrollings of lotus blossoms, 
which varicolored birds are perched and animals of the chase are rum 
Broad green-blue border displaying oval paneled crimson peonies and y 
lotus blossoms interrupted by curious pink and crimson chetahs. P 
pink and crimson guards. ae ae 
6 feet 6 inches by 4 feet 8 


Century) 


nth 


NG RUG (Sivtee 


NTI 


543—PERSIAN HU 


No. 


544—GHIORDES PRAYER RUG Seventeenth Century 


Deep sapphire-blue, peaked mihrab bordered with varied red carnations and 
tulips. Ivory spandril panel, closely woven with dull yellow and blue floral 
motives. Angular scroll panels in tan and black at crown and foot. Broad, 
deep ivory border with quaintly chevroned floral motives in blue, yellow, deep 
green and red. Old yellow and pale blue floral guards. 


6 feet 3 inches by 4 feet 6 inches. 


PRAYER RUG 


545—GHIORDES 


Seventeenth Century 


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547—GHIORDES PRAYER RUG Sixteenth Century 


600, 


Sapphire-blue mihrab, with small hanging lamp in peak. Ivory spandril 
panel, closely woven with yellow, blue and green floral motives; narrow black 
floral crowning panel and deeper, blue panel at foot. Finished with series of 
blossomed stripes variously in green, tawny black, ivory and pale blue. 


6 feet 2 inches by 4& feet 3 inches. 


548—ROSE-DU-BARRY ISPAHAN RUG Sivteenth Century 


4 / 0 Q- Rare fluctuating rose-crimson field, displaying large infloretted lotus blos- 
! soms and cloud scrolls, amid dainty arabesque scrollings; woven in yellows, 
greens, blues, ivories and orange.. Deep green-black border, enriched with — 
large highly conventionalized, infloretted lotus blossoms and angular scroll- 
ings. Orange guards. 
6 feet 10 inches by 4& feet 8 inches. 


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549—ANIMAL SILK RUG Anatolian Eighteenth Century 


gees 


Wine-purple field. Woven in pale yellow, gray, pink and orange with ara- 
besqued floral scrollings enclosing plaquettes of flowers, animals and birds. 
Oval medallion with wine-purple center similarly adorned to field. Dull blue- 
green border with inscribed plaquettes in cream, green and crimson inter- 
rupted by orange rosettes. Ivory and crimson blossomed guards. 


7 feet 5 inches by 5 feet 3 inches. 


550INDIAN SILK PRAYER RUG Seventeenth Century — 


Mihrab of very lustrous fluctuating rose-red; curiously canopied in Gothic 
manner; woven with flowering tree of life in pale greens and soft yellows. 
Rose-red border enhanced with interlacing vines of lotus flowers in soft yel- — 
. lows; guards also of soft yellow bearing rosettes scrolled with small Herati — 
leaves in dark green. 


6 feet 8 inches by 4 feet. 


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Indian Seventeenth Century 


551—SILK PRAYER RUG 


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5 feet 9 inches by 3 feet 10 inches. 


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552—PERSIAN TRICLINIUM SILK DAIS CARPET 


Eighteenth Cen 


Central panel with exquisite soft amber yellow field; woven in light 

dark sapphire-blues, old-red and ivory developing long-stemmed, spread 
formal bouquet of lotus and many other flowers. Scrolled pale blue 
corners; finished with rich old-red border of blossoms and Herat 
Flanking panels of fluctuating warm gray, bearing blue husked og 


borders adorned with flowering shrub devices. Crowning panel si 
flanking panels, with arabesqued floral oval lobed medallions at cen 
ished with crimson floral border having three inscribed oval plaq 
crown and foot. 


inception and completion of the carpet, namely, 1112 and 1285 of tt 
hammedan hegira, showing this carpet to be approximately 142 
The outer are inscribed with poem: “The birds in the wilderness. 
sixes and sevens. What is in the sky they see. What they see tk 


(Illustrated) 


EIGHTEENTH CENTURY 


2—PERSIAN TRICLI 


. 
a 


NIUM SILK DAIS CARPET 


55 


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N 


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On each side of this pair of cupids is another putto, set among swags of fru 


_ child, embowered amid flowers of gay hue. Farther down are the plume 


GRAND TAPESTRIES 


The following Series of Four Grand Tapestries illustrate the Triumphs of 
Scipio Africanus the Elder (237-183 B.C.), and concern his visit to the Afri- 
can Courts of the Numidian Princes Syphax and Masinissa. They all have 
their original beautiful borders ; the crowning in each composed of two cupidons 
supporting a cartouche bearing a Latin inscription denoting the episode de- 
picted. The cupidons also sustain very charming flanking garlands of fruit ; 

these are continued at side, interrupted near the top by half-length cupidons 
and toward foot by finely varied military trophies. The lower border is of 
leaf motives. T'wo of the series are signed with the Brussels city mark ; namely, 
a red shield flanked by B’s. One of these is signed by the weaver “G. V. D. 
Streecken”—Gerard van den Stricken; the other by “H. Reydams—Henry 
Reydams.” The condition of each is excellent, and the weaving of fine quality. 
They are executed with a wealth of color and a wide range of deuente and rich 
tones ; displaying fine blues, yellows, golden-orange, tans, greens, pinks, ivories 
and grays, very charmingly accentuated by rare crimsons and occasionally by 


’ 


resonant black. 


—‘SCIPIO AND MASINISSA BANQUETING” 


In a hall of ample proportions a gay throng, seated at a rectangular table — 
laden with viands and fruit, is feasting; in the background are numerous 
serving men and women. In the left foreground Scipio is seated in a curule — 
chair at one end of the table, and wearing a laurel wreath; his back is turned — 
to the spectator. Apparently the scene represents the rejoicings that re- 
sulted from Scipio’s having secured the friendship of, among other Princes, 
Masinissa. In the right foreground are attendants and musicians near a can-— 
delabrum of ostentatious significance. Tarther back, to the right, Masinissa, 
in armor, may be discerned at the festal board. ‘ 
In the center of the top border two cupids recline against a medallion which | 
is inscribed: ““Scip[io] et Masan[issa] Amicitiam ineunt et mensae accum- 
bunt.” 


and foliage. In the upper portion of each side border is also seen a winged 


helmet and the armor, drum, standard and quiver—all borne upon a mass ) 
flowers in full bloom. 

Below, in the selvedge, is the well- known factory mark of the Brussels a 
estry works: two B’s with a shield between, as well as the name H. REYDAMS 
the famous tapestry designer and weaver. 


About 18 feet 6 inches by 28 feet 10 E 
(Illustrated) ) 


«ONLLANONVA VSSINISVW AONV OIdIOS,;—€9¢9 "ON 


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554—“A TRIUMPHAL PROCESSION OF SCIPIO” 


From right to left across the foreground moves the triumphal pro 
with warriors who wear laurel wreaths and swords. Many on the « 
right carry crowns in their hands. In the center lictors bear fasces. 
on the left bear offerings which they will make in the Temple tow. rc 
all hasten their steps. Outside of the Temple are seated old men and n 
other figures are on the walls. In the background, and more to the | 


all rendered anachronistically in a composite landscape setting. 


Inscribed in the border above: “Ad Capitolium progrediuntur uf 
crificia sua offerant.” 


No. 554—“A TRIUMPHAL PROCESSION OF SCIPIO” 


13,00 °° 


9) 


by, two dogs. Sr 
Inscribed above: * ‘Ubi SEED dat gage ay jungend. on 


PPTL EE I I OE OIA IA 


i J ries Fant a 
° a MAS yy 


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No. 555—“SCIPIO GRANTS A TRUCE TO THE CARTHAGINIANS” 


/ 


et. 


556—“THE FUNERAL PROCESSION OF THE VANQUISHE 


SYPHAX” 


Roman Warriors, with others bearing fasces and military standards, | 
toward the left. In the right foreground is carried the dead Syphax, 
and still crowned. In front of him is a prisoner whose hands are bo 
the belt of a mounted soldier. 


Inscribed above: “Siphax Mortuus portatur.” 


About 13 feet 6 inches b; 


These four tapestries, possibly not a complete set originally, were acqu 
two pairs from Benda, of Vienna, and Coneal of Cologne. They were su 
acquired from Duveen Brothers. 


In addition to the Brussels tapestry mark, which became obligatory f1 
onward, we find the name of Henri Reydams. He entered on his career in 
privilégié of the city of Brussels on Feb. 10, 1640, and found in 1671 a successo 
son who had the same Christian name. Gerard van der Streecken was an exac 
porary of H. Reydams the elder, and died in 1677. His daughter married G 
mans. The history of Scipio was much favored as a subject for the weaver 
sixteenth and seventeenth centuries. It is found in records pertaining to Giulio 
Poussin and other painter-designers. a 


A. Wauters: “Les Tapisseries Brucelloises,” pipes pages 5 324, 336. 
A. Pinchart: “Histoire Générale de la Pipiatertene 1878-85, page 128. is 


Jules Guiffrey: “Histoire de la Tapisserie,” 1886, pages 200, 318, 352 


oie 


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[05.0 


557—BRUSSELS TAPESTRY 
After Teniers; Flemish Late Seventeenth Century 


“The Noonday Rest.” A Flemish shepherd, wearing a feathered crimson 
cap and eating from a bowl, is seated in the foreground of a rocky, hilly and 
lightly wooded landscape, in which his sheep are scattered; beside him on the 
wayside are an earthenware pitcher and a large copper bowl. The coat of 
the shepherd, in exquisite turquoise-sapphire blue, gives a rare and beautiful 
note to the quiet pastel shades in which the landscape is woven. Finished 
with yellow band edged with blue. 

Height, 4414 inches; width, 17 inches. 


Note: The Cartoon for this interesting tapestry was executed by Teniers the 
Younger (1610-1690). 


mors 


558—BRUSSELS TAPESTRY 
After Teniers; Flemish Late Seventeenth Century 


“Boors Dancing.” An elderly peasant in holiday garb is dancing with his 
wife in the foreground to the tune of a piper at right who wears a rich blue 
coat. Beyond, about center, is a stream bordered by cottages and a farm- 
house. Woven in pastel colors with the costumes in lovely crimsons, yellows 
and blues. Finished with a red and golden-yellow border displaying staves 
with scrolled leaves thereon interrupted by leaf-cartouche corners. 


Height, 3444 inches; width, 26 inches. 
g 72 


Note: The Cartoon for this interesting tapestry was executed by Teniers the 
Younger (1610-1690). 


Pe ra OSS okt Se See anes 


559—BRUSSELS TAPESTRY 


After Teniers; Flemish Late Seventeenth Century 


“Boys Playing Peg Top.” <A group of six boys in various attitudes are 
before a ring set on the ground of a village green; cottages and trees are 
irregularly placed in the background. <A boy at right is about to spin his 
top into the ring where three other tops are already. The scene is full of 
keen sportsmanship and the abandon of youth. The pastel-colored back- 
ground is delightfully relieved by the charming blues, rich crimson and mul- 
berry of the boys’ costumes. Finished with bands of yellow and blue. 


Height, 35 inches; length, 52 inches. 


Note: The Cartoon for this animated and interesting tapestry was executed by 
Teniers the Younger (1610—1690). 


be ge Le ne Ree oe 


ee — 


S 
ol ia a 


poe ee ee 


ol 


Rts 


OU RE RE RRS SREN 


2,8°°° 560—BRUSSELS TAPESTRY Flemish Late Seventeenth Century 


“Boys Playing Hop Scotch.” Seven little lads, animated with their rough 
game or resting from their strenuous sport, are scattered over a roadway at 
the entrance to a village, which is seen at left; beyond is low wooded coun- 
try. Woven in extremely rich crimsons, blues of very rare quality, rose- 
du-Barry pinks, greens and a wide range of pink-tans and ivory with golden- 
yellow pervading the whole scene with a sunlight glow. Finished with light 
blue and yellow bandings. 


Note: The Cartoon for this admirable, animated and beautifully toned tapestry 
was executed by Teniers the Younger (1610-1690). 


160°: 


60° 


Sah tee: 


561—BRUSSELS TAPESTRY 
After Teniers; Flemish Late Seventeenth Century 


“The Itinerant Vendor.” A somewhat grizzled clean-shaven man, wearing 
a yellow coat and shorts, with bluish-gray and lavender stockings and laven- 
der-plum coat, stands in the foreground offering his wares from a pot held 
in his left hand; a clump of trees rising at extreme left canopies the scene far 
up into the heavens. A village church is at distant right. Woven in rich 
mellow greens, grays, blues, ivories, the trees flecked by autumn tints, and 
rich golden-yellows. Finished with band of old-yellow edged with blue. 


Height, 9 feet 3 inches; width, 2 feet 3% inches. 
Note: The Cartoon for this decorative tapestry was executed by Teniers the 


Younger (1610-1690). 


562—BRUSSELS TAPESTRY 
After Teniers; Flemish Late Seventeenth Century 


“Barnyard with Personages.” An elderly bearded peasant, attired in blue 


doublet, yellow apron and blue stockings, is seated on a stool before the 
gable of a thatched farmhouse; he offers an apple to his little granddaughter, 
who stands expectantly before him; she wears an ivory blouse, blue apron 
and yellow skirt down to her tiny toes. At a portaled gate at right, 
her mother, wearing a blue skirt pinned up at back showing a crimson under- 
skirt, is In conversation with a neighbor in pink bodice, holding a baby in 
her arms. Woven in varied tones of blues, yellows, tans and warm pinks, 
making an excellent foil for the costumes. Finished with old-yellow band- 
ing touched with a blue edging. Height, 9 feet; width, 2 feet. 


Note: The Cartoon for this fine pastoral tapestry was executed by Teniers the 
Younger (1610-1690). 


568—BRUSSELS TAPESTRY 
After Teniers; Flemish Late Seventeenth Century 


“Going to Market.” A peasant woman with a basket over her arm and car- 
rying a long rustic staff is trudging along a roughish road crossing the fore- 
ground toward right; a boor, at her side, carrying a similar staff, points 
ahead and is in eager conversation with her. Rough ground with two large 
trees at left, rising far into the blue sky. A stream crosses about mid- 
distance; a chateau and lightly wooded hills rise on the stream’s far bank. 
Woven in cool greens, blues and glowing golden yellows with blues, old reds, 
pinks and deep mulberry giving richness to the scene. Finished with a 
frame border of old-red and golden-yellow developing moldings of ovolo 
motives and varied scrolling leaves interrupted at corners by arabesque 
scrolled rosettes. ; 
Height, 12 feet 3 inches; width, 4 feet 10 inches. 


Note: The Cartoon for this pastoral tapestry was executed by Teniers the 
Younger (1610-1690). 


Jo. 


30. 


(ey 


Jo. 


ANTIQUE ORIENTAL RUGS 


- 564 -KULAH PRAYER RUG Eighteenth Century 
Old-red field; woven with quaint hour-glass motives in varied colors. Pale 
yellow mihrab arch. Scrolled tawny brown inner and red outer border of 
lozenge motives. (Needs restoration). 

3 feet 8 inches by 2 feet 7 inches. 
565—ROSE-CRIMSON DAGHESTAN PRAYER RUG 
Mihrab with minaretted panel above; woven with curiously floriated square 
devices. Green spandrils; border displaying blue, ivory and old-rose floral 
motives. 
4 feet 6 inches by 3 feet 3 inches. 
566—LAVENDER-PINK DAGHESTAN RUG 


Fluctuating field, semé with fleurettes and impaled with series of three 
stepped cream lozenge motives; woven with soft blues, yellow and pale green. 
Three ivory and tawny brown borders bearing conventionalized motives. 


4 feet 10 inches by 3 feet 5 inches. 


567—KULAH PRAYER RUG Seventeenth Century 


Rose-red mihrab arch; with apple-green spandrils woven in sapphire-blue, 
green, yellow, ivory and pink with hanging lamp, quaint animalistic and 
floral motives. Broad yellow border of varicolored lozenge devices. (Needs 
restoration. ) 

4 feet 1 inch by 3 feet 11 inches. 


568—_KULAH PRAYER RUG Eighteenth Century 


Quaintly arranged yellow mihrab arch; with green pendentives and pinnacles 
at foot on red panel; woven with highly conventional devices in blue, old-red 
and ivory. Rosetted yellow border, with chevroned and blossomed tawny 
brown guards. (Needs restoration.) 

4 feet 4 inches by 2 feet 10 inches. 


30, 569—ROSE-PINK BERGAMO RUG 


Rose field; woven with all-over quaint geometric and floral motives in pale 
green, ivory, blue and yellow. Blossomed rose border with scrolled yellow 
inner guard and outer of interlacing blue ribbon on ivory. (Needs restora- 
tion. ) 

5 feet 7 inches by 2 feet 2 inches. 


570—GHIORDES PRAYER RUG Seventeenth Century 


Curious fluctuating yellow mihrab arch, irregularly striped about center with 
a/0.- old-red. Sapphire-blue spandrils woven with quaint carnation motives in dull 
lavender, yellow and ivory. Arcaded crowning panel surmounted by series of 
lilies in blue and tan on yellow ground. Blossomed pale yellow border with 


lavender and tan guards. (Needs restoration.) 
5 feet 6 inches by 3 feet 9 inches. 


571—ANATOLIAN PRAYER RUG Eighteenth Century 


Stepped ivory mihrab; woven with curiously conventionalized stem of 
flowers in blue, red and yellow; blossomed yellow spandril panel and deep, 


Irae’. old-red panel at foot, adorned with quaintly arcaded lilies. Sapphire-blue — 


border; woven with sprays of tulips alternating with rosettes; angular scrolled 


plum-color inner guard. 
5 feet 1 inch by 3 feet 3 inches. 


572—BLUE KAZAK RUG Eighteenth Century 


13 O. Rich blue field; woven with three varicolored stepped lozenge devices, quaint 
animalistic and plaquette motives at sides. Curiously chevroned ivory border, 
with blossomed crimson, blue and ivory guards. 

7 feet 6 inches by 4 feet 5 inches. 


573—MOSUL RUG Eighteenth Century 


50 Deep tawny brown field; woven with diagonally placed highly conventional- 
ized palmette motives in old-red, ivory, blue, yellow, green and pink. Double 
pinnacled borders in pink, green, pale blue and ivory. 


8 feet by 3 feet 2 inches. 


574—CRIMSON KAZAK RUG Highteenth Century 


Paneled field, occupied by latch-hooked stellate motives variously in crimson, 
blues, ivory and yellow touched with greens and tans. Blossomed ivory bor- 
der having angular scroll guards in blue and green. (Needs restoration. ) 


y/o: 


5 feet 6 inches by 4 feet 6 inches. 


575—GHIORDES PRAYER RUG Seventeenth Century 


J50- Fluctuating apricot mihrab and spandrils; woven in pale blue, yellow, ivory 
and black with regularly placed oblong motives and a series of blossoms 
toward foot. Ivory border with similar oblongs and tawny blossomed inner 
guard. (Needs restoration.) 

4 feet 4 inches by 3 feet 3 inches. 


576—MEDALLIONED SENNA RUG 


Ivory tan field, with all-over blossomed scrollings in pale pink and_ black. 

70. Diamond medallion and triangular corners of resonant black, woven in pale 
pink and tan with dainty arabesqued blossoms. Old-rose border of animal- 
istic and geometric motives; narrow blossom guards. 


5 feet 3 inches by 4 feet 7 inches. 


577—_BLUEK KERMANSHAH RUG 


70, Resonant deep blue ground; woven in pink, tan, ivory and pale blue with 
scroll diapered cruciform blossoms. Blue scroll and blossom borders. 
(Worn. ) 


6 feet 3 inches by 4& feet 3 inches. 


5783—LADIK PRAYER RUG Eighteenth Century 


17°, Fluctuating rose mihrab; latch-hooked at peak in pale blue. Green floral 
spandril panel. Orange border of unusual angular scrollings; inner guards 

of red, ivory and blue. 
5 feet by 3 feet 6 inches. 


579—_KERMANSHAH RUG 


)4#0, Old-rose field; woven in blue, yellow, black, crimson and ivory with pen- 
dented and arabesqued medallion and scrolled corners. Blossom and vine 
border in crimson; similar pale blue guards. 

6 feet 8 inches by 3 feet 10 inches. 


580—MEDALLIONED HERATI RUG 


) 50 Rich blue field semé with conventionalized flowering shrub motives in yellow, 
k red, pale blue, brown and ivory. Diamond central medallion and corners of 
flame-red semé in a similar manner to field. Tan border, with angular scroll- 

ings and varied narrow floral guards. 
6 feet 8 inches by 4& feet 3 inches. 


-,081I—ROSE SENNA RUG 
2390 


Soft pink field; woven with an elaborate blossomed trellis in black, yellow, 
old pink and pale green. Stepped tawny tan central medallion having a 
floral ivory border. Blue triangular corners arabesqued and blossomed in 
soft pink and yellow. Pink border similar to field, with blossom guards. 


8 feet 7 inches by 5 feet 2 inches. 
From the Sidky Bey Collection. 


582—MEDALLIONED LAHVER TABRIZ CARPET 


62°: Fluctuating soft apricot field; woven with large lobed and florally ara- 
besqued medallion in pale blue, green, red, tan and touches of soft yellow. 
Similar scroll bracketed corners liberally enriched with crimson and dark blue. 
Apricot border having arabesqued lobed oval medallions and crimson floral 
guards. 
12 fect 11 wmches by 7 feet 10 inches. 
From the Sidky Bey Collection. 


5883 —YOMUD BOKHARA CARPET Eighteenth Century 
hut Rose-red field; woven with particolored blue elongated octagons having dia- 


mond centers. Border of light blue, tawny brown and ivory diamond motives 
enclosing cruciform devices; scrolled floral ivory, red and blue guards. Outer 
border paneled in the colors of the field with floriated motives. 


12 feet 6 inches by 9 feet. 


584— BLUE SAMARKAND RUG 


q0. Pale blue field; woven with stepped lozenge motives enclosing and sur- 
rounded by varied blossoms in black, lavender, soft pink and ivory. Laven- 
der pink border, with paneled oblong blossomed arabesques; pale green and 
tawny black guards. 


10 feet 5 inches by 4& feet 10 inches. 
From the Sidky Bey Collection. 


585—DARK BLUE KURDISTAN RUG Eighteenth Century 


/ LO Rich blue field; woven with series of oblongs variously in red, green and 
ivory; arabesqued in the reversed colors of the oblongs and interrupted by 
numerous quaint animalistic and geometric motives. Ivory border with chey- 
roned angular scrollings; old-red and soft apricot guards. 


11 feet 10 inches by 3 feet 1 inch. 


586—ROSE-DU-BARRY HEREKE CARPET 


4/0. Finely fluctuating rose-du-Barry field; woven with all-over arabesque leaf 
scrollings bearing lotus blossoms and vines of small flowers in soft-green, 
yellow, gray-blue and ivory. Gray-green border of lotus flowers and Herati 
leaves in orange, rose and ivory. Triple series of pink, ivory and_ black 
guards. 


11 feet square. 
From the Sidky Bey Collection. : 


20°. 587—-GREEN AND CRIMSON SOUMAK CARPET 


Rich crimson ground; loosely arabesqued about center and 
corners in blue green. Similar blue green border with con- 
ventionalized scrolled pomegranate motives in crimson; 
scrolled guards. 


21 feet by 17 feet. : . 


588—GREEN AND CRIMSON INDIA CARPET 


Rich crimson field; woven with pendented diamond medal- 
lion and corners in greens, blues, grays and crimson. 
Broad green border paneled with sprays of lotus blossoms 
in crimson and gray; crimson and green outer guards. 


HeLo. 


15 feet by 11 feet 7 inches. 


. 


EARLY ITALIAN AND FRENCH MARBLES 


j5°. 589—ITALIAN CARVED MARBLE PANEL OF A 
SATYR AND A FAUN 


Seen at half length and peeping through curtains, which 
they have drawn aside, at two sleeping nude nymphs. En- 
closed within a Bréche d’ Alpes frame. 


Outside measurement: Height, 11°24 inches; length, 
1884 inches. 


SCULPTURED STATUARY MARBLE BUST AND PED- 
ESTAL 


“Head of a Classic Grecian Vestal.” Calmly looking into immense space. 
She wears waving hair held by fillets into graceful rolls in front; two curls 
escape at back and fall round neck to shoulders. On tapering oblong Alps- 
green marble pedestal having molded statuary marble base. 


oO). 590 


Height of bust, 1 foot 5 inches; total height, 7 feet. 


(Illustrated) 


Coe 
591—PAIR OLD SIENA MARBLE ANIMAL STATUETTES 


Guardian lions standing and carved in the round, heads turned respectively 
to left and right and each with a forepaw resting on a globe. On oblong 
bases. Mellow patina. 


)30 : 


Height, 10 inches; length, 12 inches. 


592-WHITE MARBLE URN 
Conventional inverted bell shape, on a capstan pedestal 
j2-©. with a square plinth base. The base of the bowl rest- 
ing in the embrace of petal carving in relief. 


60. Height, 191% inches; diameter, 17 inches. 


SCULPTURED STATUARY MARBLE BUST 
AND PEDESTAL By P. @E pinay 
170, Adyllic Bust of a Young Girl.” Pretty and a little in- 
clined to be pert, she wears a Directoire lawn cap and 
a low-cut bodice. On round molded base, with octagonal 
plinth. luted pedestal on molded round and square 
base; enriched with cutvre doré husk drops at crown. 


593 


Height of bust, 20 inches; of pedestal, 47144 inches. 


594—_W HITE MARBLE VASE _ Second Century B.C. 


Carved with a female form and with scrolls of acanthus 
|—— leaves and ornamented with gadroons; the lower portion 
is fluted and the stem decorated with classical moldings. 
It is placed on a pedestal which has a Byzantine leaf 
capital; and it is set upon a marble shaft which, in turn, 
is placed on a rectangular plinth. 


Height of vase, 1 foot 101% inches; of pedestal, 4 feet. 


(Illustrated) 
Wy (GM | 
595—MARBLE AND STONE PEDESTAL 


A gray marble column, with a top section revolving, and 
the whole polished. . Set between sections of a Corinthian 
capital, used for base and top, carved of stone and with- 
out polish. 


Height, 46 inches. 


- 
fie 
+ 


"596—SCULPTURED STATUARY MARBLE HEAD 
Italian Seventeenth Century 


“The Venus di Milo.” Replica of the head of this famous statue. Finely 
executed. On round pedestal with square base. 
Total height, 22 inches. 


597—POLYCHROME MARBLE FOUNT 


OO. Large tazza shape; heavily carved in conven- 
tional lotus petal motive, both as to the bowl 
and its standard. Two handles in the form 
of horseheads gripping draperies. Varicolored 
surface with varied patina. 

Height, 12 imches. 


598 SEVENTEENTH CENTURY ITAL- 
J/0 IAN CARVED MARBLE CIPPUS 


Semicircular. In front, at either end, is a small 
full-length putto. Between them they hold a 
festoon of fruit and flowers, while in the center 
above it is a rectangular tablet on which to 
add an inscription. The semicircular back is 
left unwrought. 


Height, 1014 mches; width, in front, 16 inches. 


Formerly in the Poor Collection, sold by the Amer- 
ican Art Association, April 21, 1909. 


599—FOUR MARBLE BUSTS 


Portrait busts of ancient philosophers, the heads 
poised at different angles, and all bearded, 
carved in white marble. Each on a small Siena 
marble support. 

Height, with base, 17 ches (each). 


fa 0. 
BO €x 


600—SIXTEENTH CENTURY ITALIAN 
MARBLE VASE WITH ROUND 
Goo. PEDESTAL 


The vase is octagonal in shape. A small full- 
length figure in classical draperies is seen at 
each of the four corners and set between repeat- 
ing fields of wave-scroll pattern. Short stem 
with a grooved and molded base of Brescian 
marble. 


Height of vase, 23 inches; of pedestal, 3 feet 6 inches. 
(Illustrated) 


Bo Ce 


450. 


ade 


To ae 
601—-PAIR OF MARBLE AND STONE PEDESTALS 


Round and softly polished columns of rich cream-white marble, on square _ 
bases; supporting old carved stone capitals. 


Height, 47 inches 


ELS itt JG Ge aa 
602-HALF STATUARY MARBLE PEDESTAL — Louis XVI Style 


Leaf-molded oblong top; with egg-and-dart frieze. Paneled front and en Is. 
On deeply leaf-molded stepped base. ; 
Height, 43 inches; width, 254 ti 


6083—LARGE CIRCULAR CARVED WELL-HEAD 


Ornamented in high relief with four lions’ heads and festoons of folie 
an octagonal base. 


(Illustrated) 


Satyr, who are rendered in profile inward. At the bottom corner at 
reclines a river-god who holds aloft a torch. The decoration ends 
side with ribbons and festoons. The back is, as usual, unfashic 
volute supports. The tin lining is detachable. — ; 


Height, 33 inches; length, 7 feet; width, 27 


(Illustrated) 


No. 603—LARGE CIRCULAR CARVED WELL-HEAD 
No. 604—A FOURTH CENTURY ROMAN SARCOPHAGUS 


(6) P 
iad | 
605—ITALIAN: WHITE MARBLE URN 


The upper portion of the body is carved with a band of vine leaves and ten- 
drils with bunches of grapes, at some of which birds are pecking. The lower 
portion of the body, divided off by a horizontal band of geometrical design, is 
fluted, as also is the stem, which rests on a rectangular base. The handles, — 

of twisted cable design, spring from the heads of putti. The urn contains _ 
a removable zinc lining. 


) 


Height, 17 ches; diameter, 13 inches. 


(Illustrated) 
ie o 
ae 606—TWO SCULPTURE STATUARY MARBLE URNS AND a 
4, $ 0) PEDESTALS Italian Renaissanc 4 


Flaring bell-shape, molded at the lip with egg-and-dart motives, gadroon 
at base and there enriched with reeded loop handles rising from masks. Th 
body with bas-relief classic figures arranged in two groups of three person 
ages. The subjects depicted on the two vases are, ‘“Cupidon and Psyche,’ 
“Triumph of Cupidon,” “Minerva and Attendants” and “The Dance of 
the Vestals.” On balustered and fluted round stem with square base. Ped- 
estals, with round shafts of beautiful rose Bréche marble molded at cro 
Finished with Pompeian black marble molded capital and_ base, havi ng 
square top and plinth. E 
Height of vases, 30 inches; of pedestals, 489, ee 


(Illustrated) 


ya? 
607—_MARBLE TABLE 


Alps-green marble circular top; Siena marble vase-form standard, fluted, and h y 
encircled by a garland of leaves, and resting on a triangular base suppor ¥ 
on three scroll feet. 5 


#7 STI A. Vedeslrrls 22 aos Za 7. OM (2/0. 2004) 
87 A: Reger a OL Ti 


605 


606 606 
No. 605—ITALIAN WHITE MARBLE URN 


No. 606—TWO SCULPTURE STATUARY MARBLE URNS AND 
PEDESTALS (Italian Renaissance) 


‘ vod: 


608—SMALL ae CENTURY ROMAN MARBLE 3 SA ee | 


609—THIRD CENTURY MARBLE SARCOPHAGUS 


(Illustrated) 


The center is carved with the figure of a Warrior on horseback set 
lion which is borne by a pair of tragic masks. Left and right of! 
is carved with wave-scroll pattern. At each of the corners, 

rounded, is a lion whose form towers over the body of a goat. 
modern addition to convert the sarcophagus into a bench. 


_ (Illustrated) 


(x 


609 


No. 608—SMALL THIRD CENTURY ROMAN MARBLE SARCOPHAGUS 
No. 609—THIRD CENTURY MARBLE SARCOPHAGUS 


oO. 

4,00 ; 
610—SIXTEENTH CENTURY ITALIAN MARBLE WELL-HEAD 
The top is rectangular and is supported at each of the four corners by a 


putto, who, with arms extended, grasps the end of a swag of fruit and flow- 
ers; below, depends a cluster of foliage. 


Height, 2 feet 2 inches; width, at the top, 2 feet 7 inches square. 


/4, gv? A 
611I—SCULPTURED STATUARY MARBLE JARDINIERE 


Italian Sixteenth Century 


Molded drum-shape; enriched at crown with egg-and-dart molding, at foot 
with interestingly reversed egg-and-dart motives having floral devices above. 
The body sculptured in alto-relief with massive ribboned festoons of laurel 
leaves supported on five bearded Satyr masks; above the centers of festoons 
are large floral rosettes. Rich ancient patina. Fitted with metal lining. 


Height, 281% inches; diameter, 24 inches. 


j75. 612—BRECHE-VIOLETTE MARBLE BENCH 


An oblong hall seat, without back, beveled and having a soft polish. On two. 
white marble end-supports carved with lion masks and feet. oan 


42 Lye 613—CONSOLE TABLE OF PAVONAZZO MARBLE 


Marble table with two legs representing two griffons in white marble oy 
table top of Pavonazzo marble, Hellenistic work of the eee century | 
Christ. Found in Boscoreale, near Pompeii. 


Height, 35 inches; length, 501% inches; depth, 23 % 


(Illustrated) 


Wut 614-MASSIVE SCULPTURED MARBLE TABLE Louis XIV 
Exceptionally finely veined gray Bréche marble top, deeply molded o| 


form. Well proportioned end supports of statuary marble, each 1 ith t 
bracketed and paneled shafts, enriched with expanding shell motives 
crown and terminating in spreading claw feet; the connecting end carto iche 


at crown displaying Satyrs’ masks. : 
Height, 3 feet 3 inches; length, 11 feet I 


ATHUVW OZZVNOAVd HO ATAV.L ATIOSNOO—E&19 “ON 


eee 


Pr ee ee Le ee 


SAAS eg 


615—LARGE ITALIAN RENAISSANCE WHITE MARBLE 
TAZZA 


The outer side of the vase is decorated with griffons which are confronted, 
but have between them a tripod vase; acanthus leaves and floriated designs 
which repeat. The rim is decorated with egg-and-tongue moldings and the 
lower part is fluted. A large bunch of foliage depends from the center. 
The tazza is supported on a tripod, formed of three legs of a lioness, each of — 
which is backed by a pilaster having classical moldings. An acanthus rosette 
in the center of the triangular base, which is carved with repeating Greek 
moldings. The tin casing of the tazza is detachable. 


Height, 56 inches; diameter, at top, 37 inches. 


FOURTH AND LAST AFTERNOON’S SALE 
SATURDAY, APRIL 7, 1923 
IN THE ASSEMBLY HALL 
THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


CATALOGUE NUMBERS 620 TO 764, INCLUSIVE 


620—CARVED AND GILDED FOOTSTOOL 
Joo, French Eighteenth Century 


Serpentined oblong top, covered in brocaded rose-du-Barry silk. On 
valanced cabriole legs having rose bouquets at shoulders. 


621—TWO ROUND ROSEWOOD TABLES, MOUNTED IN CUIVRE 


et ‘DORE Louis Philippe Period 
42°.“ Molded round top, lined with crimson leather; valanced frieze scrolling into 
outecurving tripod cabriole legs with round shelf stretcher. Mounted in 

cutore doré moldings and toes. Height, 28 inches; diameter, 1614 inches. 

1/10 622—INLAID MAHOGANY CARD TABLE Sheraton Period 


Round folding top; frieze of same contour, enriched with acanthus leaves 
curiously scrolling into masks at intervals. On square tapering legs out- 
curving toward foot. 

Height, 2914 inches; diameter, open, 39 mches. 


623—MAHOGANY FOLDING CARD TABLE, MOUNTED IN 

/50. BRASS Louis XVI Period 
Square hinged folding top, enriched with brass moldings and pivoted to 

disclose compartment in frieze and then folding over for support; frieze 

adorned with fluted blocks and moldings. On tapering round fluted legs 


having collars and toes. 
Height, 30 inches; top open, 331% inches square. 


90.40 
jg0. 624—TWO CARVED AND GILDED CHAIRS Louis XV Period 


Scrolled open back, with leaf and rosette medallions on crowning and mid 
rail. On valanced cabriole legs. Seat covered in rose-du-Barry damask. 


A 625—TWO CARVED AND GILDED CHAIRS Louis XVI Style 
a0 yo-Open reeded and fluted back, with scrolled pediment panel and five slender 
y2°°  yeeded balusters. On leaf-enriched cabriole legs. Seat covered in jardiniére 
velvet developing large crimson, wine-colored and yellow flowers on ivory 

ground. 


626—SIX CRIMSON VELVET WALNUT CHAIRS 
Louis XIII Period 


i 20: _ Square back and seat, covered in earlier crimson velvet. Supported on 
|}? “bulbous turned legs with two similar high-placed frontal stretchers and 
molded H-stretchers. 


627—INLAID KINGWOOD AND TULIPWOOD BOOK STAND 
French Eighteenth Century 


490> V-trough for books, and three open shelves. Supported on slightly serpen- | 
tined and scrolled ends expanding into rounded castored feet. The two 
lower shelves finished with back. Inlaid with feathered panels, lines and band- 
ings. 
Height, 30 inches; width, 21 inches. 


628—_CARVED WALNUT TABLE Jacobean Period 


Molded oblong top, with flute-dentiled valance. Supported on vase balus- 
tered legs having similarly balustered H-stretcher. 


cae 


Height, 18% inches; length, 2534 inches. 


60. 
629—CARVED AND GILDED BANQUETTE Lows XVI Style 
Oval seat, with loose cushion in gray and cream medallioned silk. Frieze 
enriched with leaf and pearl motives, supported on fluted round tapering 
legs. 
Height, 21 inches; length, 40 inches. 


ce 


420: 630—TWO CARVED AND GILDED ARMCHAIRS 

Louis XVI Period 
Oval molded back, very finely scrolled open arms. Supported on fluted 
tapering round legs. Covered in earlier crimson damask, woven with pine- 
apple devices. 


6381—CARVED AND GILDED BANQUETTE Louis XV Period 


Serpentined oblong seat; frieze enriched with open shell motives, rocaille and 
sprays of leafage. On cabriole legs, with shell cartouche, leaf scrolls and 
double X-stretchers. Seat covered in rose-du-Barry damask. 


4 OF 


Height, 1 foot 5 mches; length, 3 feet 6 inches. 


682—FOUR CARVED AND GILDED FAUTEUILS 
ee Se gal Louis XVI Period 
I, 2° 


Broad oval back, molded with guilloche motives, arm pads and seat covered 
in French blue lampas finely woven in ivory and tan, the backs with alle- 
gorical figures of “Folly” and Cupidon with a floral and basketed arbor and 
standing on a lion-masked architectural scrolling; seat with a sleepy cupidon 
standing on the back of one of two outfacing lions within a somewhat sim- 
ilar arbor to back. Open scrolled arms with leafage on supports, and 
further guilloche motives, which are repeated on the seat rail. On tapering 
fluted round legs. 


fon" 
HS Seg 
5 60: 6383—TWO CARVED AND GILDED FAUTEUILS 
Louis XVI Period 


Similar to the preceding, with arched oblong backs and straighter arms. 


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eas aaa san wed “a wm” 


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- 


i) * 
4d 634—INLAID TULIPWOOD TABLE, MOUNTED IN CUIVRE 
DORE Louis XVI Period 


Oblong top, with outset square corners. Deep front, fitted with writing 
drawer and two others below; paneled pilasters on all sides. Supported on 
square tapering legs. Mounted in cuivre doré with pierced baluster gallery 
at top, scrolled vines on pilasters, wreathed and bowknotted oval escutcheon, ~ 
molded collars and toes to legs. Dove-gray tapestry marble top. 


Height, 281% inches; width, 17% inches. 


LACQUER WRITING TABLE, MOUNTED IN CUIVRE DORE 
Louis XVI Period 


Lightly serpentined oblong top, lined in maroon leather having gilded tooled | 4 
border. Valanced frieze with slender cabriole legs. Enriched in gold and 
red with Chinoiserie landscapes on black. Mounted in cuivre doré with 
molding to top, open rocaille appliqués to knees and toes. 


Height, 28 inches; length, 3 feet. 


ep).. 
) 
636—GEORGE WASHINGTON ACAJOU TABLE, MOUNTED IN 
CUIVRE DORE Louis XVI Period 


Molded oblong top, enriched with oval blue and white Sévres medallion bust 
of George Washington. Paneled frieze; on molded tapering square legs 
paneled with ebony. Mounted in cuivre doré with floral inset border to top 
and frieze and stock toes. 

Height, 25 inches; width, 174% inches. 


637—INLAID TULIP AND HARE WOOD GUERIDON 
ee. Louis XVI Period 


Oval top, with harewood panel enriched with large basket of varied flowers 
and tulipwood bandings. Frieze fitted with drawer and adorned with inter- 
lacing round medallioned rosettes. Supported on slender cabriole legs, with 
kidney-shaped harewood shelf stretcher having similar basket of flowers t6 
top. Glass top. 
Height, 2744 wmches; width, 19% inches. 
Note: A very similar interesting gueridon is in the Jones Collection, South Ken- 
sington Museum. ; 


See? 
rents tOKOEO= >IT = 
— LD) . 


a 


0 
9,42 638-INLATD TULIPWOOD CENTER TABLE, MOUNTED IN 
; CUIVRE DORE Louis XVI Period 


Oval top, enriched with lobed tulipwood banded medallion enclosing vase of 
flowers, inkstand and other objects in the Chinese manner spread on a table. 
Frieze with panels of similar objects to top; fitted with small drawer. On 
slender cabriole legs having kidney-shaped shelf stretcher similarly inlaid to 
top. Mounted in cuivre doré with pierced gallery, curious satyr masks at 
frieze blocks, molding to shelf stretcher and cartouche and leaf toes. (Drawer 


restored. ) Height, 23144 wmches; width, 1314 inches. 


Note: A small table with similar Chinoiserie utensils is in the Jones Collection, 
South Kensington Museum. It is evidently by the same Maitre Ebéniste as the above 
table. 


gs? 639—INLAID TULIP AND KING WOOD TABLE, MOUNTED IN 
CUIVRE DORE Louis XVI Period 


Oblong top, with round corners; front with three drawers. Finely inlaid on 
front and ends with graceful scrollings of vines. On cabriole legs. Mounted 
in cuivre doré to dove-gray marble top; small rocaille scrolled ecsutcheons and 


as Height, 281% inches; width, 20% inches. 


0 


52? oH 


640—INLAID TULIP AND KING WOOD GUERIDON, MOUNTED 


IN CUIVRE DORE Louis XVI Period 


Oval top; enriched with diamond lattice and kingwood bandings, frieze and 
oval shelf stretcher similarly adorned to top. Fitted with end drawer. Sup- 
ported on slender cabriole legs. Mounted in cuivre doré with open diamond 
latticed gallery, knob to drawer, molding to shelf stretcher and scrolled 
acanthus-leaved toes. Glass top. 

Height, 2634 inches; width, 1614 inches. 


—INLAID TULIP AND HARE WOOD GUERIDON 


Louis XVI Period 


Beaded, kidney-shaped top, enriched with circular medallion occupied by a 
jardiniére of flowers and flanked by fine harewood diamond lattice. Frieze 
fitted with drawer and inlaid with broad scrollings. Supported on slender 
tapering legs. Drawer trimmed with leaf-scrolled brass escutcheon. 


Height, 28 inches; width, 1814 inches. 


S75 ; 642_INLAID TULIPWOOD TABLE, MOUNTED IN CUIVRE 
DORE - Louis XVI Period 


Oblong. Frieze fitted with writing slide, lined with original black leather 
having gilded tooled border, mock mid drawer and drawer below and a mid 
drawer at right occupying the space of the frontal mid mock drawer. Richly 
inlaid with rosetted lattice and fluted pilasters above square tapering legs. 
Mounted in cuivre doré with open gallery at top, plain shield-shaped 
escutcheons and stock toes. Finely veined plum-pudding Brocatelle marble 
top. 

Height, 28 inches; width, 19 mches, 


Note: Under lower drawer is an official seal of the original owner, 


goo: 


643—EXQUISITELY INLAID TULIPWOOD TABLE, MOUNTED 
IN CUIVRE DORE Louis XVI Period 


Oblong top, with canted corners and inset centers; richly inlaid with central 
sprays of flowers, flanked by panels of parquetry cubes. Front fitted with 
three drawers, the upper arranged with leather-lined writing slide and ink 
compartment at right. Supported on square tapering legs with shelf stretch- 
er of same contour as top; front, ends, back and shelf stretcher inlaid with 
similar panels of parquetry cubes to top. Mounted in cuivre doré with shaped 
molding to top and stretcher, satyr and leaf appliqués at corners of pilasters, 
festoons at top of legs, bowknotted oval escutcheon and square toes. Rich in 
color and patina. 

Height, 281% inches; width, 18 inches. 
From the collection of Lady Paget. 


yo 
3,9 


644—INLAID TULIPWOOD AND HAREWOOD CENTER 


TABLE, MOUNTED IN CUIVRE DORE 
Louis XVI Period 


Oval top of harewood, inlaid with quaint vessels and vases of flowers, finished 
with cube and feathered tulipwood bandings. Pale green paneled frieze en- 
riched with scrolled husk motives; fitted with small writing slide having old- 
blue silk lining. Supported on slender cabriole legs and kidney-shaped shelf 
stretcher inlaid with similar vessels to top. Mounted in cuivre doré with open 
gallery to top, knob to slide and leaf-cartouche toes. 


Height, 29 inches; width, 2234 imches. 


Note: An interesting and similarly enriched table to the above is on exhibition in 
the Jones Collection, South Kensington Museum. 


0,0 


0?° 


647—INLAID 'TULIPWOOD WRITING CABINET, MOUNTED IN 
CUIVRE DORE Louis XVI Period 


Serpentined oblong top, slightly serpentined front, ends and back inlaid with 
bowknotted bouquets of flowers. The front fitted with fall writing tablet 
lined with original tooled green leather disclosing interior compartments ; 
small drawer under. Supported on slightly cabrioled legs and shelf stretcher. 
Mounted in cuivre doré, with molding at top, rocaille scrolled escutcheon, 
and castored leaf toes. 

Height, 34 inches; width, 17 inches. 


oe Ls a eel 


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648—INLAID TULIPWOOD AND ELMROOT TABLE, MO! 
IN CUIVRE DORE Louis XV 


- 


Circular, with tripaneled body, enriched with oval medallions of « 
ally fine elmroot. Front arranged with writing slide at crown 


Right panel fitted at top with small hinged drawer swinging out ; 
inkwell compartments. On slender cabriole legs and round shel 
adorned with stellate center. Mounted in cuivre doré with pier 
bowknotted escutcheon, molding to shelf stretcher and leaf-car' 
tored toes. Glass top. 
Height, 2834 inches; diameter, 


Note: This charming little table has the maker’s long advertisemen 
bottom of lower drawer. “Hache fils of Grenoble, who were ébénistes to. 
léans in 1777. . 


s 


(Illustrated) 


(polad TAX 8moT) WYOM AWAINO NI 
GHLINNOW “ATAVL LOOUNTA GNV GOOMdITOL GIVINI—8*9 ‘ON 


SOLS ee ac NG ae rR 

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CPN: 


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649—CARVED WALNUT TABLE Henri II Period 


Paneled square top, finely molded frieze enriched with leaf and shell motives 
and rosetted pendants at corners. Supported on five bulbous baluster legs 
with half-shell embellishment. Deeply molded boxed double T-stretcher 
having outfacing scrolled acanthus leaf bracket feet. 


Height, 31 inches; top, 26 inches square. 
From the Laffan Collection. 


650—INLAID TULIP AND KING WOOD TABLE 


Louis XVI Period 


Oblong top, with outset curved corners, raised beaded rim and paneled frieze 
inlaid with rosetted diamonds; fitted with drawer having leather writing 
slide. Supported on slender cabriole legs. Mounted with laurel medal- 
lioned escutcheon and cartouched leaf toes. 


Height, 271% inches; width, 224% inches. 


Eee ey Re eee 5 ae 


651—CARVED WALNUT TABLE 
x 50. School of Lyons, French Siwteenth Century 


Paneled square top, finely molded frieze enriched with leaf and shell motives 
and rosetted pendants at corners. Supported on five Ionic columns 
wreathed with vine foliage; on molded double 'T-stretcher with acanthus-leaf 


bracket feet. Height, 31 inches; top, 26 inches square. 


652—INLAID HAREWOOD WORK TABLE, MOUNTED IN CUIVRE 


DORE Louis XVI Period 
) 450 ' Lobed oval, hinged top, inlaid with landscape and stream on which two 


swans are swimming; interior of top enriched with silhouetted profile bust 
within a wreath of flowers; interior compartment for work-materials. A 
drawer is fitted at right side below the compartment. Supported on molded 
cabriole legs having incurved oblong stretcher. Mounted in cuivre doré with 
leaf-scrolled strap to back of top, floral drop handle covering the keyhole, open 
medallioned and scrolled floral knees and leaf feet. 


Height, 2834; width, 17 inches. 


ie jo oe 6583—RARE INLAID HAREWOOD POUDREUSE Louis XVI Period 
! 


Scroll-molded serpentined oblong top, with center hinged at back over small 
compartment lined with blue silk and fitted with mirror. Sides of top also 
hinged, falling over to left and right as shelves and disclosing deeper, lined 
compartments having inlaid sliding covers. Interesting incurved, serpen- 
tined frieze with arched knee-hole arranged with three drawers at base opened 
by concealed spring catches from below. The superb enrichment of mar- 
quetry in light-colored woods is so finely cut that no engraving is required to 
give the forms of the flowers. The top with loose trophy of pastoral imple- “¢ 
ments and festooned wreath of flowers sustained by two slender ribbons to- i 
ward back, the ribbons again forming festoons to sides and there holding fur- ; 
ther flowers; the front with delicately drawn butterflies and sprays of flowers 

on center drawer; sides with birds perched on rustic trees pecking at fruit . 
thereon; ends with sprays of larger flowers. 


Height, 30 inches; length, 33 ches. 


Note: A smaller table with similar exquisite marquetry and of the same dainty 
character is on exhibition, No. 75 in the Jones Collection, South Kensington Museum ; 
it is attributed to David Roentengen, Ebéniste to Marie Antoinette, 1780. 


tLICA. Stiw’ te eae 


G73: Au! GA eS oe 
6s/ xe FEEDS atest as FSO. 


Geile is ” re £50. 


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4,8° 654—_INLAID TULIPWOOD COMMODE, MOUNTED IN CUIVRE 
DORE Louis XVI Period 


Straight front, fitted with two drawers enriched with sprays of mellow-toned 
flowers; canted pilasters. Supported on cabriole legs. Mounted in cuivre 
doré with oval leaf rosettes at crowns of pilasters, scrolled husks and acan- 
thus leaves at knees, scrolled acanthus-leaf toes, laurel-wreath ring and ro- 
sette handles and ribboned and laureled round escutcheon. Rich molded 
Rouge Royale marble top. Signed, “I. Popsel ME” on top right rail. 


Height, 33% inches; width, 31% inches. 


Note: Jean Popsel was received into the Paris Corporation of Cabinetmakers, July 


5, 1753. 


Pl ig i, ee Se v). . 


655—INLAID HAREWOOD WRITING TABLE, MOUNTED IN 
405. CUIVRE DORE Louis XV Period 


Serpentined oblong top; arranged with hinged outward sliding end sections ; 
uncovering shaped compartments lined with green silk. Frieze following con- 

tour of the top having small writing slide under center and small drawer be- 

low the slide. Beautifully inlaid with delicate scrollings of acanthus leaves 
sustaining occasional blossoms. On slender cabriole legs. Mounted in cuivre 

doré with molding to top, scrolled leaf molding to frieze and finely scrolled ro- 

caille knees and toes. (Has been restored.) 


Height, 28 inches; width, 27%4 inches. 


AS 
)? 
: 656—INLAID KING AND TULIP WOOD TABLE, MOUNTED 
IN CUIVRE DORE Louis XVI Period 
Serpentined oblong top, frieze fitted with two small deep paneled drawers, 
flanking shallow central drawer having valanced kneehole. Mounted in 


cuvore doré with molding to top, cartouched blossom and acanthus-leaf knees. 
serolled cartouche toes, rocaille scrolled handles and escutcheon. 


Height, 28°4 inches; width, 3314 inches. 


657—INLAID TULIPWOOD TABLE, MOUNTED IN CUIVRE 
DORE Louis XV Period 


Serpentined oblong top, with canted corners; inlaid with broadly scrolled 
strap medallion of kingwood. Scrolled kneehole to similar shaped frieze as 
top, fitted with writing slide and two end box swinging drawers opene 
with concealed spring catches. On beautifully paneled cabriole legs. 
Mounted in cuivre doré with molding to top, finely scrolled rocaille and Be ; 
knees, handles and toes. 


0 
4,| 


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ae . 
658—ACAJOU WRITING TABLE, MOUNTED IN CUIVRE DORE 
Lows XVI Period 
Oblong top, lined with maroon leather. Paneled frieze, fitted with long 
drawer. Supported on tapering fluted round legs. Mounted in finely chis- 


eled cutvre doré with moldings to top, pearl moldings to frieze, exquisite leaf 
paterz to leg-blocks, collars and toes to legs. 


Height, 29 inches; width, 3444 inches. 


O- . 
0° Bee 
h 659 CARVED PEARWOOD TABLE Henri I Period 


Square top, with paneled frieze having rosetted acorn pendants at corners. 
Supported on four columnar legs placed at centers of fronts and sides and 
having deeply molded X-stretcher with depressed bulbous feet. 


Height, 28 inches; length, 31 mches. — 


660—INLAID TULIP AND KING WOOD COMMODE, MOUNTED 
IN CUIVRE DORE Louis XVI Period 


Straight front, broken about center; fitted with three short and two long 
drawers under; quarter round, fluted pilasters; on cabriole legs. Mounted 
in cutvre doré with festooned and husked appliqués at crown of pilasters, 
laurel wreath ring handles, bowknot escutcheons, and open scrolled acanthus 
toes. ‘Tapestry gray and lavender marble top. 


Height, 34 inches; length, 44 inches. 


oor 


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661—INLAID TULIP AND KING WOOD COMMODE, MOUNTED | 
IN CUIVRE DORE Louis XVI Period — 


Straight front, expanding about center to a depressed semicircular panel; 
fitted with two deep drawers and canted pilasters. On valanced cabriole legs. — 
Mounted in cuivre doré with triglyphs on pilasters, scrolled urn on valance, — 
laurel-wreath ring handles and bowknot escutcheons. Dark red and gray — 
Languedoc marble top. “A 


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662—INLAID TULIPWOOD MUSIC CABINET Louis XV’ Period 


Lightly serpentined front, fitted with two enclosing doors paneled with feath- 
ered tulipwood. Interior fitted with shelves and small cabinet compartments 
on back of doors. On rounded base and short cabriole feet. Mounted in 
cuiore doré with scrolled escutcheons and leaf-cartouched toes. Molded plum- 


pudding Brocatelle marble top. 
Height, 34 inches; width, 34 inches. 


_ yo 
A 6683—INLAID KINGWOOD AND SYCAMORE TABLE, MOUNTED : 
c 
IN CUIVRE DORE Louis XVI Period 3 
Kidney-shaped top, inlaid with a florally wreathed and drapery festooned i 


panel enclosing a miniature writing table and various utensils; frieze with 
contour of top, fitted with central drawer and two hinged box drawers at ends; 
the frieze enriched with vase of flowers and further utensils. Supported on 
very slender cabriole legs. Mounted in cuivre doré with pierced gallery to 
top, festooned escutcheon and leaf-scrolled toes. 


‘Height, 2714, inches; width, 2314 inches. 


Note: There are two tables with similar interesting marquetry evidently from the 
hand of the same ebeniste in the Jones Collection, South Kensington Museum. 


oO. 


oO 
) 0 
664—SMALLINLAID TULIP AND HARE WOOD WRITING TABLE, 
MOUNTED IN CUIVRE DORE Louis XVI Period 


Oblong top, with outcurving corners, inlaid with ribboned bouquet of flowers 

on harewood ground. Tulipwood frieze, fitted with writing drawer, enriched 

with sprays of flowers; below is a harewood tambour sliding door adorned 

with musical trophy; ends similar to top. On valanced cabriole legs. Mounted 

in cuivre doré with pierced rope gallery moldings to frieze, husked drops on 

canted pilasters, acanthus-leaf knees, toes and valance appliqué. Interior 

fitted with small drawers. Height, 3014 inches; width, 19 inches. 
665—INLAID ACAJOU WRITING AND GAME TABLE, MOUNTED 

qo: IN CUIVRE DORE Louis XVI Period 


Oblong loose-galleried top; lined with old-red leather on both sides. The 
interior center compartment fitted with movable chessboard and tric-a-tra 
board under. Frieze with mock drawers over central compartments, and 
deeper side drawers. On square tapering castored legs. Inlaid with brass 
lines and mounted in cuivre doré with laurel moldings and pilaster appliqués. 


Height, 3014 inches; length, 4514 inches. 


Sl / 


PHOTOGRAPH 
IN ARCHIVES 


666—INLAID TULIP AND HARE WOOD GUERIDON, MOUNTED 


=a 
oy 


IN SEVRES PORCELAIN | 
By Léonard Boudin, M.E.; Marie Antoinette Period 


Circular top, with sunk Sévres floral plaque in center surrounded by a rib- 
boned laurel wreath. Deep, valanced frieze, tripaneled and inlaid on hare- 
wood with quaint vessels and vases of flowers in the Chinese manner. One 
panel hinged as enclosing door disclosing interior fitted with three small 
drawers. On tripod cabriole legs with shelf stretcher. Mounted in cutore 
doré with molded rim, rosette at crown of pilasters, oval ribboned laurel es-_ 
cutcheon and leaf cartouche toes. Glass top for same. Signed, “L. Bou- 
din,” under body. ae 
Height, 30 inches; diameter, 18 inches. 


Note: Léonard Boudin was received into the Paris Corporation of Cabinetmaker 
March 4, 1761, 


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COREE? 


669—ACAJOU WRITING TABLE, MOUNTED IN CUIVRE DORE 


Francois Rubestuck; Lous XVI Period 


Oblong top, lined with original dark green leather tooled on border with 
gilded scrollings. Paneled frieze of ebony bandings fitted with three drawers 
at front and similarly finished on all sides, the back with mock drawers to 
match front. Supported on square tapering legs. Mounted in richly chiseled 
cuiore doré with finely paneled and molded rim to top, leaf moldings to draw- 
ers, leaf and rosette motives above legs and in parting panels between draw- 
ers, oak-leaf rig and rosette handles, those over the keyholes in one piece, 
thereby hiding the keyholes, triglyphs at crown of legs, small vase toes and 
tapering panels of guilloche motives on all sides of legs. Rich original gild- 
ing. Signed, “EF Rubestuck,” on under drawer rail at right. 


Height, 2 feet 5 inches; length, 3 feet 9 inches. 


Note: Francois Rubestuck was received into the Paris Corporation of Cabinet- 
makers, May 7, 1766. 


(, 


4, 6° 


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670—INLAID TULIPWOOD COMMODE, MOUNTED IN CUIVRE 
DORE By L. Dufour; Louis XV Period 


Serpentined front and ends; fitted with two drawers scroll-paneled with 
feathered tulipwood; oblong panels on ends. Supported on valanced cabriole 
legs. Richly mounted in finely chiseled cuivre doré with open rocaille and 
leaf knees having pendants of flowers, similar appliqué at valance, leaf- 
scrolled rocaille handles, escutcheons and toes. Rich Languedoc marble top. 


Signed twice, “L. Dufour,” under top. 
Height, 324, inches; width, 32 inches. 


Note: L. Dufour was received into the Paris Corporation of Cabinetmakers, Oct. 
Dla O*, 


671—INLAID TULIP AND KING WOOD CABINET, MOUNTED 
IN CUIVRE DORE By P. H. Mewesent; Louis XVI Period 
Rectangular, with canted pilasters. Front fitted with four feather-paneled 
drawers. On short cabriole legs. Mounted in cuivre doré with festooned 
ram’s-head pilaster appliqués, acanthus-leaf and strap handles scrolled into 
ribboned and wreathed round escutcheons. Rare plum-pudding Brocatelle 
marble top. Signed on left top rail: P. H. Mewesent. 


Height, 31 inches; width, 181% inches. 


Note: Pierre Hary Mewesent was received into the Paris Corporation of Cabinet- 
makers, March 29, 1766. 


672—INLAID TULIP AND KING WOOD CABINET, MOUNTED 
IN CUIVRE DORE By P. H. Mewesent; Louis XVI Period 


Similar to the preceding. Signed on right top rail: P. H. Mewesent. 


Note: Pierre Hary Mewesent was received into the Paris Corporation of Cabinet- 
makers, March 29, 1766. 


(Illustrated) 


BY P. H. MEWESENT; LOUIS XVI PERIOD 


No. 672—INLAID TULIP AND KING WOOD CABINET, MOUNTED 
IN CUIVRE DORE 


Ng 


ba 


673—INLAID TULIP AND KING wooD WRITING DESK. 
MOUNTED IN CUIVRE DORE Louis XV_ Period 


Deep straight front, with round pilasters; inlaid with scrolled panels of fea- 
thered tulipwood, the banded scroll-borders with the feathering reversed to 
give a variation in color, kingwood outer borders. Fitted with two drawers, 
the upper arranged to fall on sliding iron side brackets, and having supple- 
mentary hinged section in front which also falls over to make a larger writing 
tablet which is lined with green leather. Interior back fitted with three 
tulipwood drawers and compartments. On valanced cabriole legs. Mount 
in chiseled cutvre doré with open scrolled leaf and rocaille appliqués at croy 
of pilasters, scrolled festooned knees, leaf-scrolled toes, drawers and ends e 
riched with leaf and strap scrolled panel moldings. : 


ae 


Height, 3814 inches; width, 25 inches. 


rounded corners, lined with original green morocco leather. Frieze | | 
valanced and following the delicate easy contour of top, paneled on. 


two drawers. Supported on virile cabriole legs sweeping into the brack is 
the valance. Mounted in cuivre doré with shaped molding to top, scrol 
ings to frieze; rocaille escutcheons; graceful leaf-scrolled and garlan 
pliqués to knees and toes with open scrolled rocaille motives. (Leat 
needs restoration.) Signed in four places, “LL. Platz,” underneath 
rails. Fe 
Height, 2 feet 5 mches; length, 4 feet 

Note: L. Platz was a cabinetmaker of great repute in his day, but did no . 


Paris Corporation. This superb writing table is unquestionably equal in work 
and beauty of design to any of Platz’s contemporaries. f 


(Illustrated) 


aod AWAINO 
NI GHLINOOW ‘ATAVL DNILIUM GOOMAITOL CIVINI—*L9 ON 


GOIMdd AX SINOT‘:ZLVId “I Ad 


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ui; 


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i 


675—INLAID KINGWOOD COMMODE, MOUNTED IN CUIVRE 
DORE By Petit; Louis XV Period — 


Serpentined front and ends, inlaid with quaintly feathered and paneled king- — 
wood; fitted with two drawers. On valanced short cabriole legs. Mounted — 
in beautifully chiseled cuivre doré with large appliqués of open scrolled ro- 
caille and husks at shoulders, similarly scrolled appliqué at valance, quaintly 
scrolled leaf toes, the two drawers paneled as one, and ends with scrolled leaf 
moldings, rocaille and leaf handles, and escutcheons. Rich Languedoc mar- 
ble top of browns, grays and ivories. Signed, “Petit,” twice, under left and 
right front. 3 
Height, 2 feet 1014 inches; length, 3 feet 10% inches. 


Note: Petit was received into the Paris Corporation of Cabinetmakers, March 2 © 
1761. 3 : 


676—INLAID TULIP AND SATINWOOD CABINET, MOUNTED — 
IN CUIVRE DORE 7 “7 


By Jean Francois Leleu and Gouthiere; Louis XVI P. 


settes within green diamond lattice; finely canted pilasters inlaid witl 
toise-shell elmroot; slightly serpentined ends, paneled with tulipwood. 
valanced base scrolling into cabriole legs. Interior arranged with four | 
Mounted in exceptionally finely chiseled cutvre doré with acanthus-leaf a1 
husk molding to top; double leaf moldings and corners to doors, single mol 
ing on ends, beautifully scrolled acanthus-leaf brackets crowning pilasters and 
further similar motived knees and center appliqué to valance, which is cro z 
by a varied leaf molding. Signed on back in two places, “J. F. Lele 


Height, 4 feet 6 inches; width, 


Note: Jean Frangois Leleu, one of the most famous of all French cabinetmal 
received into the Paris Corporation, September 19, 1764, and was made syndic 
Gouthiére, the most renowned of all French ciseleurs, is known to have done mu 
for Leleu, and the superb quality of the mountings on this cabinet show Gout. ér 
his very best. ; ; 


(Illustrated) 


ors vay De rane  wiucurt 


SR NST 


Le SE 


cy 
we 


BY JEAN FRANCOIS LELEU AND GOUTHIERE; 
LOUIS XVI PERIOD 


No. 676—INLAID TULIP AND SATINWOOD CABINET, MOUNTED 
IN CUIVRE DORE 


677_ACAJOU WRITING TABLE, MOUNTED IN CUI 


Oblong top, with outset round corners; lined with dull green 

tooled border. Paneled frieze; fitted with three drawers and 

p 3,0 he sides. Supported on outset round tapering fluted legs. Richly 
cuivre doré with molding to top, husked and rosetted interl 

lions to frieze, large paneled oblong patere over legs, colla1 

husk drops to legs. 

: Height, 2 feet 4 inc 


(Illustrated) 


1° 


0 °° 


679—_INLAID TULIP AND KING WOOD COMMODE, MOUNTED 


IN CUIVRE DORE $f" 7 Rete. Louis XVI Period 


Slightly bowed front, with canted pilasters; the entire front enclosed by two 
doors simulating a paneled frieze interrupted by flaring central panel which 
is flanked below by two further panels simulating two drawers; deeply val- 
anced rail at foot. On cabriole legs. Inlaid at frieze and the return, the ends 
with rosetted oval motives; large flaring panel with a table spread with a 
great variety of musical instruments; the table is canopied by tasseled fes- 
toons of drapery and stands on a festooned platform. Richly mounted in 
cutvre doré with acanthus-leaf appliqués and moldings at frieze and panels, 
acanthus-leaf and claw feet, pineapple fluted and leaf-scrolled appliqué to 
valance and finely entwined ribboned laurel and staff motives on pilasters; in- 
terior fitted with three long tulipwood drawers. Deeply molded half statu- 
ary marble top. 

Height, 2 feet 1114 inches; length, 5 feet Yo meh. 


700- 


rs) 
680—TWO CARVED AND GILDED BANQUETTES 


5 Far 688—TWO CARVED AND GILDED BEAUVAIS TAP 


FINE TAPESTRY FURNITURE 


Highteenth Century ee 


Oblong seat; covered in crimson damask. Frieze with simple guilloche mo- : 
tives, festoons of oak leaves and acanthus scrolled center. Supported by leaf- — 
scrolled paw feet, plinth enriched with bead-and-reel moldings and scrolled — 
central shell device sustaining the acanthus scrolling of seat. 


Height, 1 foot 6% inches; length, 4 feet 10 inches. — 


(Illustrated) 


-O 
40 

681I—TWO CARVED AND GILDED BANQUETTES 

Eighteenth Cen 

Similar to the preceding. Sik 


/ 12 grammed M.A. (Marie Antonetes surmounted by a rose wreath an 
flanked by ribboned arrows; rounded seat rail with pearl and rosette em 
ment. On valanced tapering round legs. Seat covered in finely woven Bea 
vais tapestry displaying ribboned bouquet of beautiful flowers withiz d | 
ivory oval medallion wreathed with oak leaves; floral border. Execu d 
charming pastel colors enhanced by rich crimsons. Frames apparent] 
later period. | 


Note: The Beauvais tapestry for these chairs was woven for the Queen ‘ofy 
Marie Antoinette. 


(Illustrated) 
17 ne es 


CHAIRS Marie Antoinett. 
Similar to the preceding. 


Note: The Beauvais tapestry for these chairs was woven for the Queen of France 
Marie Antoinette. 


No. 680—TWO CARVED AND GILDED BANQUETTES (Eighteenth Century) 


No. 682—FOUR CARVED AND GILDED BEAUVAIS TAPESTRY 
CHAIRS (Marie Antoinette Period) 


a 
25 be | 
3 684_THREE CARVED AND GILDED BEAUVAIS TAPESTRY 
CHAIRS Marie Antoinette Period 


Similar to the preceding. The tapestry with simpler bouquet of flowers. 


ye ae 


fs 3 5 685—THREE AUBUSSON TAPESTRY CARVED AND GILDED 
FAUTEUILS Louis XVI Period — 


Molded fan-shaped back, open scrolled and fluted arms. On half reed-fluted — 
legs. Back, seat and armpads covered with fine Aubusson tapestry display 
ing laurel wreathed medallions of varied fowl and animals illustrating ep 
sodes from La Fontaine’s Fables, after Oudry. Florally festooned cream — 
borders, Woven in rich red-crimson, pinks, lavenders, blues, yellows, greens, 
tans and ivory largely with silk. = 


686—AUBUSSON TAPESTRY CARVED AND GILDED BAN- 
450 QUETTE Louis XVI Period 


Oval top, with box border, covered in Aubusson tapestry; woven in mellow 
harmonious colors on gray-green grounds with large bouquet of loose varied 
flowers and borders of closely placed daisy blossoms and husks. Leaf and 
pearl molded frieze. On tapering husk-fluted round legs apparently of a 
later period. 


Height, 15 inches; length, 31 inches. 


#% ESO. 


687—TWO AUBUSSON TAPESTRY CARVED AND GILDED 
FAUTEUILS Louis XVI Period 


Arched back; armpads and loose seat cushion, covered in fine Aubusson tap- 
estry developing rustic medallions of “Children Playing,” after Boucher; on 
cream ground garlanded with flowers. Seats having floral cream-paneled me- 
dallions of animals illustrating episodes from La Fontaine’s Fables, after 
Oudry. Frames apparently of a later period; enriched with leaf motives and 
husks. On fluted tapering round legs. 


GHA tate Tar PA a2, cet es 


688-—-TWO AUBUSSON TAPESTRY WINDOW BANQUETTES 


690—TWO AUBUSSON TAPESTRY CARVED AND 


Louis XVI 


Long oblong seat; covered in Aubusson tapestry displaying oval medé 
animals after Oudry and illustrating episode in La Fontaine’s Fables; 
ground, festooned with flowers having rose-du-Barry borders and deep flo 
festooned and Vandyked valance falling in front. On gilded tapering f 
round legs. 


Height, 16 inches; length, 


(Illustrated) 


689—TWO AUBUSSON TAPESTRY CARVED AND 
LOVE SEATS Louis X 


Arched back, armpads and seat, covered in rich Aubusson tapes 
ing interesting group of “Rustic Children Playing in Land. 
Boucher. Seat with large medallion occupied by group of anima 
dry, florally festooned ivory grounds with rose-du-Barry borde 
with leaf-enriched back, scrolled arms with open fluted round b: 
On tapering fluted, round legs. (Frames restored.) 


Height, 36 inches; length, 


(Illustrated) 


LOVE SEATS Longa 


Similar to the preceding. 


No. 688—TWO AUBUSSON TAPESTRY WINDOW BANQUETTES 
(Louis XVI Period) 


No. 689—TWO AUBUSSON TAPESTRY CARVED AND GILDED 
LOVE SEATS (Louis XVI Period) 


692—TWO AUBUSSON TAPESTRY CARVED AND | 


FAUTEUILS Louis XVI P 


Molded oval back, with scrolled ears; enriched with rosette motives; opel a 
scrolled arms; apron having similar rosettes. On leaf and flute ad 
pering round legs. Covered with remarkably fine Beauvais tapestry 
ing in backs richly toned vases set on scrollings and festooned w 
draperies; on cream ground. Seats with dainty pastoral trophies f 
with flowers. Frames apparently of a later period. 


Note: The beautifully woven Beauvais tapestry for these remarkable, « 
originally executed for the Queen of France, Marie Antoinette. : 


(Illustrated) 


gion” 
GRAND FAUTEUILS Louis 


Similar to the preceding, but with variations in tapestry. The 1 


baskets of flowers, seats with trophies surrounded by floral : 
scrollings. 


(Illustrated) 


en neces —ariaay 


rat 
H 
i 


No. 691—FOUR BEAUVAIS TAPESTRY CARVED AND GILDED 
FAUTEUILS (Louis XVI Period) 
No. 692—TWO AUBUSSON TAPESTRY CARVED AND GILDED 
GRAND FAUTEUILS (Louis XVI Period) 


Molded oblong back, enriched with rosette motives, armpads, scrol 
and loose seat covered in richly woven Beauvais tapestry, the back 
blue festoons of drapery entwined with wreaths of charming fl 
the festoon are two pendent military trophies wreathed with laure 
flanking a vase of rare flowers. Floral arms and pads. Seat dis 
trophied wreath of wonderful fruit festooned with flowers and oce 
bird pecking at bunch of grapes; acanthus-leaf scrolled border in 


passages of crimson on ivory grounds and small tawny-brown inner : 


borders, giving much interest to the weaving. (The frames app 
later period.) 


originally executed for the Queen of France, Marie Antoinette. 


(Illustrated) 


(pow.tad TAX smoT) 
AdVNVO GACIID GNV GCAAUVO AULSAdIVL SIVANVAI—E69 “ON 


Ve LeU UsoUs SO NES EU sUSTsSEL dESELLOHeUseEtEsEsoooUOUEES, 4 
- ¥ : % 


3 perry: 
age eee 
eeu a. 
aL ET 


a 
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SEL D MAA THO AR ASEH ERE MPSA OhehmenanaMesnamhenenntn, 
ERTS SELES LIES COLO atcmerertnonnemee es 


Con 
vie 


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694—TWO CARVED AND GILDED BEAWVAIS TAPESTRY 


695—AUBUSSON TAPESTRY CARVED AND GILDED CA 


Qe 


ARMCHATIRS Louis XVI Period 


at rustic avocations, “Walking with His Dog” and “Feeding Chickens,” 
Boucher; floral armpads; seats developing groups of animals, after Oud 
from episodes in La Fontaine’s Fables. Both back and seat have remarkal 
fine wreaths of exquisite flowers and deep cream tan borders; woven in 
rich blues, crimsons, greens, pinks, plum-color, yellows and ivories. I 
enriched fluted arms and supports. Seat rail guilloched to match ba 
reed fluted round legs. ; , 

(Illustrated) 


; Louis XVI | 
Molded horseshoe back and arms, enriched with leaf motives and loos 

ered in beautiful Aubusson tapestry. Displaying in the back an 
toral medallion after Boucher. A young mother seated holdin 
fant to greet its father, who appears with his ass at an open half. 
rest of the joyous family are grouped round the mother; flanked 
bouquets of flowers on deep ivory grounds, festooned at crown 
of flowers and tassels. Seat with medallion of rare flowers and 
lands and tassels; woven in rich harmonious colors. Supported | 
fluted round legs. Frame apparently of a later period. 


Height, 3 feet 23% inches; length, 6 | 


(Illustrated) 


Ps 
sf 
y 
x 
nas 
< 


No. 694—TWO CARVED AND GILDED BEAUVAIS TAPESTRY ARMCHAIRS 
(Louis XVI Period) 


No. 695—AUBUSSON TAPESTRY CARVED AND GILDED CANAPE 
(Louis XVI Period) 


9,69" 


I? 


50-7696 —-TWO CARVED AND GILDED AUBUSSON TAPESTR 


SETTEES Louis XVI Peri 


Molded oblong back; enriched with entwining pearl and vine motives and 
large pierced and carved central hanging basket, presumably filled with a 
large bouquet of very beautiful flowers woven in the fine Aubusson tapestry 
covering the back. Open arms, with floral tapestry pads; leaf vase, fluted op 
supports. Cannée seat with fluted rails and tapering fluted round legs. Loos 
seat cushion covered in ivory velvet brocade developing a floral trellis on ivo 
ground. ae 
Height, 351% inches; length, 36 inche 


Fr a 


697—RARE IVORY INLAID TULIPWOOD TABLE, MOUNTED 


IN CUIVRE DORE Louis XV Period 


Oblong top, with round corners; richly inlaid with leaf-scrolled oval medal- 
lion occupied by architectural ruins, facing a stream on which are boats and 
personages; flanked by views of similar ruined edifices amongst which are 
groups of further personages. The inlay is finely engraved and the heads of 
the personages are in ivory. Frieze fitted with two end drawers opening by 
springs concealed under front; inlaid with landscapes with edifices and fur- 
ther personages. Supported on cabriole legs. Mounted in cuivre doré with 
rosetted rocaille-scrolled appliqués at shoulders of legs and moldings down 
to leaf and clawed toes. | 

Height, 28 inches; length, 303 inches. 


Note: A beautifully inlaid table of similar fine character to the above is in the 
Jones Collection, South Kensington Museum. It is signed by G. Jansen, D. de Loose 
and J. L. Cosson. 


-~ 


| 


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a.0ep 


698—INLAID TULIPWOOD COMMODE, MOUNTED IN CUIVRE- 


DORE Louis XVI Period 


Straight front, molded and expanding to a flattened half-round panel at cen- — 
ter; fitted with two drawers inlaid with three vertical architectural panels, the — 
center depicting a group of personages before a columned edifice partially m 
ruins and a stream on which is a boatman, the ends paneled with vases of flow- — 
ers in lightly tinted woods. On cabriole legs. Mounted in finely chiseled — 
cuivre doré with festooned and husked appliqués at crown of round pilasters, . 
scrolled husk drops at knees, acanthus-leaf and claw feet, vase and scrolled 
acanthus leaves at center of valance, laurel ring and rosette handles and rib- — 
bon and husk escutcheons. Finely molded and shaped original gray Bréche 
marble top. ar 
Height, 2 feet 1014 inches; length, 4 feet 4 inches. 


i 


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Fy) 
esl 


699—_INLAID TULIPWOOD COMMODE, MOUNTED IN CUIVRE 


DORE Louis XVI Period 


Straight front, molded and expanding to a flattened half-round panel at cen- 
ter; fitted with two drawers inlaid with three vertical architectural panels, the 
center depicting a group of personages before a columned edifice partially in 
ruins and a stream on which is a boatman; a bridge is above the stream; the 
ends paneled with vases of flowers in lightly tinted woods. On cabriole legs. 
Mounted in finely chiseled cutvre doré with festooned and husked appliqués 
at crown of round pilasters, scrolled husk drops at knees, acanthus-leaf and 
claw feet, vase and scrolled acanthus leaves at center of valance, laurel ring 
and rosette handles and ribbon and husk escutcheons. Finely molded and 
shaped original gray Bréche marble top. 


Height, 2 feet 1014 inches; length, 4 feet 4 inches. 


vos 
sf oe 700—INLAID TULIP AND HARE WOOD COMMODE, MOUNTED 
IN CUIVRE DORE Louis XVI Period 


Straight-valanced front, molded toward center, and there forming a de- 
pressed semicircular expanded panel. Frieze fitted with three drawers en- 
riched with entwined circular medallions enclosing rosettes. Two long draw- 
ers below tripaneled as one, the center handsomely inlaid on harewood with 
florally festooned classic vase of flowers, the side panels and ends with 
rosetted diamond lattice and key bandings. Supported on paneled square ~ 
tapering legs. Mounted in chiseled cuivre doré with large berry and leaf ro- 
settes at crown of canted pilasters,frieze molding, oak and laurel wreath ring 
and rosette handles, ribbon and laurel escutcheon, acanthus leaved scrolled ap- 
pliqué to valance, dentils to legs and square toes. Original tapestry dove- 
gray marble top. 

Height, 38 inches; length, 59 inches. 


A beautiful variant of the Marie Antoinette Commode, known as the Fontainebleau 
Commode. 


Note: The official seal of the original owner is on the back. 


701—INLAID KINGWOOD AND TULIPWOOD = CABINET, 
MOUNTED IN CUIVRE DORE Louis XVI Period 


Rectangular, with feathered tulipwood frieze; the front fitted with two large 
enclosing doors paneled with feather bandings of kingwood and centers with 
quartered tulipwood; small valance under doors. Canted pilasters, terminat- 
ing in arched stump feet. Ends paneled. Mounted in rarely chiseled cuivre 
doré with leaf-rosetted diamond lattice to frieze, acanthus-leaf and husk drop 
brackets at crowns of pilasters, larger leaf rosettes as four corners of doors 
and acanthus-leaf appliqué wreathed with oak leaves on valance. Original 
molded half statuary marble top. 


- O. 
5° 
/ 


b 


Height, 3 fect 71% inches; width, 4 feet 3 inches. 


90° 
6,° 7022—INLAID KINGWOOD AND TULIPWOOD CABINET, 


MOUNTED IN CUIVRE DORE Lous XVI Period 
Similar to the preceding. 


by 703—TULIPWOOD INLAID WRITING CABINET, MOUNT 
CUIVRE DORE AND SEVRES PORCELAIN — 
By Jacques Laurent Cosson, M.E.; Louis X 


Small rectangular upper portion fitted with tambour front sl 
richly inlaid with rosetted cubes, diamond motives and rosetted lat 
the interior back similarly inlaid. Table top and shelf stretcher 
same manner; frieze fitted with drawer having writing slide 

ments; lined with old crimson cloth. Supported on tapering sq 
shaped shelf stretcher. Mounted in interestingly chiseled cuivre 
pierced oval galleries at top and stretcher, rocaille scrolled escute 
with festooned acanthus-leaf appliqués above legs, medallions 
apple-green Sevres porcelain plaques painted with reserved birds 
Signed on under meh rail, twice, “J. L. Cosson, M.E.” 


Height, 3 feet 5 inches; widt 


Note: Jacques Laurent Cosson was received into the Paris Corporat 
4, 1765. 


(Illustrated) 


ae OOOO 


Yaw, 
PA kt Vy 
a¥,9. 9° 


BY JACQUES LAURENT COSSON, M.E.; 
LOUIS XVI PERIOD 


No. 703—TULIPWOOD INLAID WRITING CABINET, MOUNTED IN 
CUIVRE DORE AND SEVRES PORCELAIN 


0 
ous 


704—IMPORTANT INLAID TULIP AND HARE WO 


DER DESK, MOUNTED IN CUIVRE DORE ~ 
By Jacques Birckle; Louis 


Top with raised center; incurved at sides; cylindrical fall fron 
cartonniéres and writing slide. Front fitted with four deep d 
shallow central drawer. On square tapering legs. Enriched 

on top, oval medallion of trophies on fall flanked by parquetry, 
with similar parquetry. Mounted in cuivre doré with deep g: 
oval medallions, moldings, wreathed rosetted handles, and 
handles on fall. Signed, “J. Birckle,” under right rail. 


Note: Jacques Birckle was received into the Paris Corporation of 
July 30, 1764. . 


BY JACQUES BIRCKLE; LOUIS XVI PERIOD 


No. 704—INLAID TULIP AND HARE WOOD CYLINDER DESK, 
MOUNTED IN CUIVRE DORE 


705—CARVED WALNUT LIBRARY TABLE “4 
School of Jean Goujon; French Renaissance 


eee 


Paneled oblong top; ovolo frieze, enriched with spiraled gadroons interrupted _ 
by husk motives and at ends by two central panels occupied by reclining god-. 
dess and nymph, “Juno” and “Leda and Swan.” Supported on fluted Corin- 
thian columns arched at ends with mask of nymph and bracket with open 
outfacing scrolled chimeric animals; on double 'T-stretcher with central triple 
leaf-balustered arcading having outfacing busts of nymphs with Scrat dol- ‘ 
phins’ tails as feet. . es 


Height, 2 feet 9 inches; Pee ri me: 9 inches. 


(Illustrated) m i ih 


706—CARVED WALNUT LIBRARY TABLE ce 
French Renaissance St 
Wak Molded oblong top, enriched with shell medallions and flutingss ; vertically ser 

pentined frieze with strap-arched gadroonings. Supported on fluted Ionic col. 


umns, having lower portions adorned with strap-arabesqued medallions — and a 


arcades at ends. The legs rest on a deeply molded shelf base adorn 
half-shell motives. 


Ce ee WALNUT LIBRARY TABLE 


French Renaissance 
Similar to the preceding. ea 


FOS A. aA Te a 
ove, 


RoE Is ne es ee 


ATAVL AUVUGIT LANTIVM GHAUVO—SG0L “ON 
MONVSSIVNAY HONG *-NOLNOD NVAL TO TOOHOS 


Tbe 


_ 710—CARVED OAK LECTERN Italian Renaissance 


yb?* 


‘709-CARVED GRAY LACQUE THREEFOLD SCREEN 


z 


708—CARVED AND GILDED CHAISE-LONGUE Louis XVI Period 


Scrolled oblong back, with scrolled arms having dolphin supports. Long 
seat and round tapering legs; enriched wreaths, rosettes and leafage. Covered 
in velvet brocade, displaying green wreaths entwined with yellow ogivals and 
small sprays of crimson flowers. Similarly covered round back bolster. 


Height, 38 inches; length, 61 inches. 


(Illustrated) 


Louis XV Style 
Scroll-molded folds, with glazed crowning panels enriched with festooned 
green ribbons, bouquets of flowers and rocaille scrollings. Lower panels 


t 


covered in blue and gray floral brocade of the Louis XV period. — 


Height, 5 feet 21, inches; width, 4 feet 7 inches. 


Molded slant-top missal box; with panels elaborately enriched with open 
acanthus scrollings bearing flying cherubs, birds, lambs and a central coat- 
of-arms of the Della Rovere family. Supported ona caryatid having scroll- _ 
bracketed feet. a 


Height, 52 inches; width, 19 chan 


711—TWO CARVED WALNUT PEDESTALS Ttolian Reena 


Shaped molded and dentiled top. Supported by three scrolled terminals 
having winged amorini heads before Ionic capitals, festoons of drapery to 


Tonic heads, drops of fruit and lion paw feet. On molded base. (Have been Og 
restored. ) “ie 


(powad JAX simoT) HOONOTHSIVHO GHCTID GNV GHAUVO—80L ON 


Bo? 


712—INLAID KINGWOOD ARMOIRE, MOUNTED IN CUIY 


DORE _ French Highteen 


Rectangular, with round pilasters, molded cornice and valanced stu 

Fitted with two long double scroll-paneled and glazed doors, lined v 
du-Barry silk. The interior fitted with movable shelves lined with 
Mounted in cuivre doré with leaf, husk and egg motived moldings a 
drop appliqués at cornice, doors with leaf-scrolled moldings and : 
cutcheons, base of pilasters and stump feet with further scroll 
Ends, each with leaf patere at centers of corners of their two | 


(Illustrated) 


» MOUNTED IN CUIVRE 


No. 712—INLAID KINGWOOD ARMOIRE 


. 


DORE (French Eighteenth Centur 


y) 


713—CARVED AND GILDED VERNIS MARTIN SEDAN CHAIR 
French Kighteenth Century 


4, ge Scroll-molded frame, of usual form; the cornice and dome enriched with flor- 
ally scrolled seated nymphs and cupidons. Scrolled glass door and side panels, 
terminated by pendent scroll panels enclosing further cupidons allegorical of 
Music; below, further irregular scroll panels painted with nymphs and cupi- — 
dons symbolizing the Arts; Vernis Martin background, enriched with numer- | 
ous varied floral scrolling. Supported on finely scrolled and gilded base, 
Cartouche enriched cuivre doré pole handles. Interior lined with original 
soft blue velvet embroidered in gold threads with floral scroll borders. Bie 
with glass shelves. Can be easily refitted for a i tebe pone booth. ae 


Height, 6 feet 8 inches; ive 3 feet; depth, 2 feet 11 inches. 
Originally from the collection of Amadeus, King of Sicily. 


(Illustrated) eee. 


714—CARVED AND GILDED CONSOLE TABLE Adam Pe 


-O Oblong frieze, with central mask panel in composition, flanked by. fine ly 2 
eRe pierced and carved honeysuckle motives. On fluted square Meee ae : 
Rare massive inlaid rouge and cream marble top. (Slightly chipped. ie 


Height, 2 feet 91% inches; length, 5 feet 1 inch; depth, 2 feet 6 i in 


715—CARVED AND GILDED CONSOLE TABLE | Adame 
4 aoe Similar to the preceding. (Rosetted central medallion imperfect.) 


No. 713—CARVED AND GILDED VERNIS MARTIN SEDAN CHAIR 


(French Eighteenth Century) 


i l ye 716—CARVED WALNUT CABINET ‘French Renaissance 
Molded oblong top; frieze enriched with end panels of gray and whi 
center panel with festooned eagle and flanking scrolls. Supported on. 
fluted and arched columns with Corinthian capitals, molded base an 
Fitted with upper cabinet having scroll enhanced door and flankin 
Drawer under, with reclining Venus in the manner of J ean 
scrollings. Supported on interior baluster legs. 


Height, 5 feet 2 inches; oan 4 f 


(Illustrated) 


oe ¢ ; : ; ; ’ ery 
1,0" 717-CARVED WALNUT CABINET French Renaiss 
Similar to the preceding. The enrichments ane the as frieze 


retransmit mega 


PACD DE IL TUR CaN 


a mans | 


— : : = = om > | 


ri 


mee ti 


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— 


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Impeas PA a ones jp Somme th 


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rench Renatssance St 


No. 716—CARVED WALNUT CABINET (Ff 


o ° 
es | 
718—_CARVED WALNUT CABINET French 


Upper portion with broken fronted cornice and frieze; enriched 
oblong panels of Alps-green marble. Front enclosed with two do 
medallions of Mars and Venus scrolled with satyr masks; arched | 
pilasters adorned with graceful figures of Venus and Diana and | 
Corinthian columns. On incurved molded and satyr bracketed 
enriched central drawer. Broader lower portion ee comp¢ 


drawer, but no columns. Panels with satyrs stance on a, cin 


birds; niches with figures of Mars and Venus standing upon b 
On outcurved molded base and ball feet. 


(Illustrated) 


) 


USANCE 


Rena 


T (French 


No. 718—CARVED WALNUT CABINE 


oo: 


719—CARVED WALNUT CABINET ~ + Brena 
Upper portion with molded oblong cornice; leaf-bracketed { 
with winged cupidon head and flanking reclining satyrs. Fron 
two paneled doors enriched with festooned cupidons standin 
parted and flanked by fluted Corinthian columns having f 
ward base. On molded plinth. Extending lower portion, 
arranged with two scrolled leonic enriched drawers; bel 
paneled doors adorned with strap and leaf arabesques | 


satyrs; similar half columns to upper pags On molded | 
feet.. Rich patina. 


No. 719—CARVED WALNUT CABINET (French Renaissance) 


40 0. 7290—-CARVED WALNUT WRITING CABINET _ Italian Renaissance BY 


}25° ; 


Molded oblong upper portion; with strap arabesque paneled ends. Fitted 
with eleven drawers and two flanking enclosing doors enriched with ca 
touched busts and arched central compartment. Lower portion with centra’ 
writing slide; supported on vine-embellished spirally twisted legs having ee 
bracketed feet and arcaded cross stretcher with fluted Corinthian columns. 


Height, 4 feet 5 inches; width, 3 feet 3 inches 


and pilasters. Open fronted upper and lower portion, cael with four ee 
round columns adorned with Raphaelesque arabesques and Ionic capi 
parting frieze, with three panels having winged putto head, mask and | 
scrollings. Long paneled pilasters with further finer Raphaelesque | ara 
besque motives. On spreading, broken, leaf, ribbon and husk plinth with i 
Siena marble base of a later period. Paneled ends. Enrichments gilded; 0 
blue grounds. Interiors lined with ancient ciel-blue damask displa 
scrolled floral sprays; fitted with two glass shelves. ee 


h-S 


Height, 9 feet 1 inch; width, 7 feet 9 


(Illustrated) 


Al 


ABINE 


CHROMED C 


CARVED, GILDED AND POLY 


721— 


Oo 


N 


) 


tan Renaissance 


(Ital 


722—VERY IMPORTANT SCULPTURED WALNUT SACRISTY 


CABINET Italian Late Fifteenth Century 


Beautifully bracketed oblong cornice; enriched with leaf motives and flutings. 
Frieze fitted with two tripaneled drawers interrupted with amorini in the 
round, standing or sitting on small brackets and central coronetted coat-of- 
arms, mantled by a bust of nymph and supported by further amorim. Upper 
portion fitted with fall front inlaid with superbly grained root walnut and 
trimmed with engraved escutcheon. Pilasters, adorned on each with two 
groups of allegorical figures in the round, one sustained by a bracket of three 
amorini, the other with scrolled satyr mask. 'The ends with arched panels, 
similar amorini frieze and single figure pilasters. On molded base. Archi- 
tectural interior fitted with thirteen drawers, central and flanking doors hay- 
ing canted molded pediments sustained by figure pilasters; the central with 
shell-arched niche occupied by a finely sculptured figure of Our Lord. The 
drawers trimmed with cuivre doré drop handles variously in the form of ox- 
heads and fleurs-de-lis. Extending lower portion, with narrow frieze bearing 
two slides for fall front terminating in amorini seated on dolphins. Front en- 
closed by two arch-paneled doors similarly inlaid to fall, having figures of 
flying nymphs in spandrils and rosetted band at foot. Oblong paneled pilas- 
ters and arch-paneled ends. On molded base and cross blocks terminated in 
leonic busts with paw feet. Very rich and beautiful patina. 


Height, 6 feet 6 inches; width, 4 feet 10 inches. 

From the collection of Amadeus, King of Sicily. 
Had been numbered and catalogued by the Italian Government for retention in Italy. 
Note: This early masterpiece of the sculptor’s and cabinetmaker’s art is unique 


and its inception and construction is very justly attributed to the Florentine bottega 
of Verrocchio (1435-1488). 


(Illustrated) 


eta SR a 


No. 722—VERY IMPORTANT SCULPTURED WALNUT SACRISTY 
CABINET (Italian Late Fifteenth Century) 


00 ° 


723—CARVED WALNUT EXTENSION TABLE French Renaissance 


Clamped oblong double top; with under top in two sections drawing to sides. 
Rounded frieze, enriched with series of half shell motives and gadroons below. 
Supported on arched ends having outfacing scrolled demi-nymphs with hoof 
feet, cross stretchers terminated with recumbent lions, husk and leaf molded 
central stretcher having central vase-like sustaining motive with open leaf- 
scrolled brackets at crown. 


Height, 801% inches. Top, closed: Length, 501% inches; depth, 341% inches. 


peo” 


724—CARVED WALNUT FOLDING TABLE Italhan Renaissance 


Square top; with four hinged folding semicircular flaps raising and forming a 
circular top. Supported on molded square pedestal paneled with arched and 
scrolled leaf devices and having weird chimeric dragon brackets at corners; 
sustained on a molded plinth and square base having four similar hinged 
semicircular flaps to top, but with scrolling brackets. Rich patina. 


Height, 3 feet; top closed, 4 feet 3 inches square. 


A 


Se 


4 
| 

eq 
4 
4 


O- 

so 725—-CARVED WALNUT ARMCHAIR Henri II Period 
Molded open oblong back. Enriched with crowning strap arabesque panel, 
leaf, shell and mask scrolled pediment and pierced vase splat of two outfac- 
ing harpies. Scrolled arms terminating in rams’ heads. Supported on 
columnar legs having ball feet and box stretcher. Mask and leaf scrolled val- 
ance to molded wood seat. Loose cushion of contemporary floral cut-velvet 
in crimson and golden yellow. 


559° 7296—TWO WALNUT STATE CHAIRS Italian Renaissance 


ce . ae 
es High oblong back and seat; covered in rose-crimson damask displaying vase 
of flowers and rustic scrollings. Scrolled open arms, with baluster supports, 


legs and stretchers. 


50 Tes UN WALNUT STATE CHAIRS Italian Renaissance 
5 
ue Similar to the preceding. 


J 


Y 


or 


728—TWO CARVED WALNUT PRELATES’ CHAIRS 
Early Italian Renaissance 


Oblong back, with gargoyle terminals. Open scroll-molded arms, supported 
by standing figures of saints within scrollings; scroll-stretchered legs, hav- 
ing oblong panels and leaf balusters. Back covered with embroidered red 
velvet panels of the period, displaying a coat-of-arms surmounted by a tas- 
seled cardinal’s hat, wrought in appliqué silks and gold threads; red velvet 
seat. 


)5 BF 729—_CARVED WALNUT CHAIR — Northern Italian Siateenth Century 


Cartouche back; enriched with laurel-wreathed oval medallion flanked by 
pierced floral scrollings. Molded wood seat. On flaring round tapering legs. 


300 ‘ 


ol: 


we 
fe 


731—_CARVED WALNUT CHAIR 


bd 
i 
* 
a 
% & 


30—CARVED WALNUT STATE CHAIR French Renaissance 


High oblong back, serpentined at crown, and seat covered in rich lustrous 


ruby velvet of the period. Open leaf-scrolled arms and supports terminating 


in gargoyle heads. Most unusual scrolled legs with leaf and claw feet; beau- = 


tifully scrolled frontal and baluster stretchers. 


Cartouche back with satyr mask hand-hole and scrollings of leafage. Molded 


wood seat. On tapering fluted round legs. Crimson velvet loose cushion of 


the period. 


Northern Italian Renaissance — 


‘a 
‘ 
4 


Poe 


49 : 732—SIX CARVED AND GILDED BROCATELLE STATE CHAIRS 
Florentine, Régence Period 


Serpentined fan-shaped high back, and shaped seat covered in rose-crimson 
brocatelle developing large bouquets of infloretted flowers amid scrollings. 
Deeply scrolled and molded open arms and supports enriched with arabesque 
panels and sprays of flowers. Open leaf and strap valances to seat. Sup- 
ported on boldly scrolling legs having similarly scrolled X-stretcher with ped- 
estaled center surmounted by a berried vase. Legs and stretcher enriched 
with similar arabesque panels and sprays of flowers to arms. 


0 733—FOUR CARVED AND GILDED STATE CHAIRS 
25 , Venetian Late Seventeenth Century 
70 “ Similar to the preceding. 


Oa 


reat 


730: 


an 


734—CARVED WALNUT DANTESQUE FOLDING CHAIR 
Italian Sixteenth Century 


Serpentined adjustable crowning rail. Enriched with scrolled dolphins; 
rosetted and scrolled open arms; curule seat and legs adorned with scrolled 
floral motives and shaped cross stretchers. Crimson velvet seat. 


735—CARVED WALNUT CHAIR = Northern Italian Sixteenth Century 
Cartouche back, with hand-hole. Enriched with cupid, three flanking satyr 
masks and coat-of-arms below, mantled with helm and foliage. Molded 
lozenge-shaped wood seat. On tapering flaring hexagonal legs. 

736—CARVED WALNUT CHAIR Italian Renaissance — 


Grotesque cartouche back; with hand-hole forming the mouth of a satyr mask; 
further enrichment of scrolled dolphins and lower satyr mask. Molded wood 
seat. On flaring tapering fluted legs. 


737—CARVED WALNUT CHAIR Italian Renaissance Style 
Cartouche back, with scrolled hand-hole. Enriched with three cherubs’ heads 


and fruit. Scroll-molded seat. Pierced and scrolled frontal support, em- 


bellished with fruit. 


Cities 


a> oe? > ge 
2) 
738—_SET OF SLX SIXTEENTH CENTURY SPANISH 


WROUGHT-IRON CHAIRS 


The backs ornamented with openwork volutes and geometrical patterns, and 
inset in each an oval panel with a Spanish inscription; they refer to the reign 
of Philip II and to the years 1525, 1559, 1568 and 1595. Spiral posts, arms 


and stretchers. Height. 65 inches» widi,. 30 snchess 


Ae 
q2° : 739—SIX CARVED WALNUT STATE CHAIRS 
French Eighteenth Century 


High shaped back and seat covered in earlier floral crimson damask. Finely 
scrolled open arms and supports enriched with leaf motives and rocaille car- 
touches. Scroll-valanced seat and cabriole legs similarly adorned. 


740—INLAID CARVED WALNUT STALL French Renaissance 


ip: Molded and paneled cornice; enriched with vase and scrolls; high similarly 
paneled back, having medallioned bust surmounted and supported by dolphin 
and satyr mask scrollings. Double scrolled open arms on leaf baluster 
stumps; molded hinged seat with loose crimson velvet cushion, trimmed with 
large similar-colored tassels. Double paneled front, on molded plinth. Pilas- 
ters and lower portion of back panel inlaid with ebony and boxwood diamond 
motives and Roman letters indicative of a previous owner. 


Height, 7 feet 4 inches; width, 2 feet 5 inches. 


(Illustrated) 


741—_CARVED OAK CASSONE Italian Renaissance 


5 ac Paneled oblong lifting top; front paneled and enriched with three caryatid 

vA 7 pilasters; festoons of fruit and scrollings. Supported on bulbous legs. Heavy 
scrolled iron side handles. 

Height, 22 inches; length, 39 inches. 


4 0 742—CARVED WALNUT CENTER TABLE Ttahan Renaissance 

| Dentil-molded square top, with molded frieze. Supported on vine-enriched 
spirally twisted legs, having plain box stretcher. 

Height, 27 inches; width, 22 inches. 

743—PEAR-TREE TABLE Itahan Seventeenth Century 

/ p} a Round top, enriched with brass nails on molded edge. Supported on balus- 


tered shaft, spreading base and bracket feet. 


Height, 29 inches; diameter, 22 inches. 


-O q 
49 744—CARVED AND GILDED WALNUT TABLE Italian Renaissance 


Molded circular top, with gilded leaf rim; rosetted frieze; supported on finely 
pedestaled balustered legs. 


Height, 321, inches; diameter, 22 inches. 


No. 740—INLAID CARVED WALNUT STALL (French Renaissance) 


qv. 


joe’ 


179: 


745—WALNUT CENTER TABLE Italian Renaissance 
Molded oblong top and frieze, fitted with drawer. On fine columnar legs 
having flat box stretcher. Height, 28% inches; length, 33 inches. 
746—CARVED AND GILDED MIRROR Florentine Renaissance 
Oblong molded frame; enriched with pierced leaf scrollings sustaining a coro- 

net. 
Height, 830 inches; width, 26 inches. 
747—CARVED AND GILDED MIRROR Italian Renaissance 


Deeply molded oblong frame; enriched with cartouches interrupting scrolled 


demi-cherubs. 
Height, 29 inches; width, 24 inches. 


(ut 748—CARVED AND GILDED CONVEX MIRROR 


Oo, 


G00: 


American Eighteenth Century 


Molded circular frame, with ball enrichment. Pediment adorned with spread 
eagle surmounting a ribboned wreath. The apron composed of two coiled 
serpents. Curious side arms scrolled for single lights. 


Height, 4 feet; width, 2 feet 6 inches. 


749—_INLAID SATINWOOD OVAL BREAKFAST TABLE 
Sheraton Style 
Oval top, enriched with oval scrolled husk and shell medallion, boxwood bor- 
der with leaf and berry wreath; finished with tulipwood bands. Frieze of 
same contour as top, adorned with pater over tapering square legs having 
stock toes and open incurved stretchers; the legs inlaid with pendent husks. 


Height, 2834 inches; length, 53% inches. 


(Illustrated) 
5 Oo set. 


( 
750—SIX INLAID SATINWOOD CHAIRS Sheraton Style 
Three arm and three side chairs. Open shield-shaped back, splat with open 
vase filled with bouquet of flowers, enriched with ribbon festoons at sides. 


On tapering square legs having stock toes. Open scrolled arms and legs in- 
laid with lyre and husk motives. Seat covered in broadly striped green silk. 


(Illustrated) 


No. 749—INLAID SATINWOOD OVAL BREAKFAST TABLE 
(Sheraton Style) 


No. 750—SIX INLAID SATINWOOD CHAIRS (Sheraton Style) 


751—HALF-ROUND INLAID SATINWOOD CABINET 
Sheraton Period 


Top richly inlaid with tulipwood and fine elmroot bandings, oval medallion of 
two festooned cornucopias of fruit, corner and half medallions interrupting: 
the border and enriched with musical trophies. Front fitted with central 
frieze drawer flanked by two hinged box drawers, inlaid with festooned jar-_ 
dinicre of fruit and flowers, the pilasters with bowknotted floral drops. Ar- 
ranged below with central and two end doors; inlaid with oval medallion en- 
closing basket of flowers, oblongs of pastoral trophies and the front with 

kingwood bandings. On tapering legs finished with brass stock toes. he 


Height, 3 feet 2 inches; length, 3 feet 3 inches. be 


50 752—HALF-ROUND INLAID SATINWOOD CABINET eer ; 
Sheraton Period 


Similar to the preceding. 


4> 


-O, 


7583—HALF-ROUND INLAID SATINWOOD CABINET 


Sheraton Period 


Molded top, enriched with scrolled shell and wreathed half medallion, vase 
toward front beautifully scrolled with delicate acanthus leaves and husks, 
laurel and berry border. Front fitted with long central drawer flanked by two 
hinged corner drawers. Two central enclosing doors below flanked by doors 
enclosing corner cabinets. The frieze drawers inlaid with similar scrollings of 
acanthus leaves to top, and shell motives over husked pilasters. 'The four 
doors with oval boxwood medallions. On tapering square, castored legs en- 
riched with tulipwood bandings. 


Height, 3 feet 2 inches; length, 4 feet 7 inches. 


[30 


(VO: 


40.0 


j 7) 


wy Oe 


754 _INLAID SATINWOOD HANGING CABINET Sheraton Style 


Oblong, with bracketed pediment and apron. Fitted with glazed door, end 
panels and glass shelf. Lined with green striped silk. 


Height, 191% inches; length, 2014 inches. 


755—DECORATED SATINWOOD THREEFOLD SCREEN 
Sheraton Style 


Rectangular panel, arched under crown. Painted with border of floral seroll- 
ings, spandrils and medallion head at base. Panels covered in broadly striped 


green silk. 
Height, 5 feet 4 inches; length, 5 feet 6 inches. 


756—INLAID SATINWOOD CABINET Sheraton Style 


Oblong, with galleried top; fitted with glazed door enriched with husk drops, 
glazed ends and five shelves lined with green striped silk. On square taper- 
ing legs having stock toes. 

Height, 551 inches; width, 211% inches. 


757—_INLAID CARVED WALNUT STALLS Italian Gothic 


Three hinged seats with bracketed miserere are supported by central arched 
scrolling arms enriched with medallions of leafage and other devices and hay- 
ing columns at foot and shorter recessed similar columns at top, crowned by 
deeply scrolled moldings arched for back of seats and terminating in trefoil 
motives over arms. Back of seats inlaid with geometric diamond motives in 
colored woods. 'Tripaneled and columned back with fluted and leaf-adorned 
cornice, of the Renaissance period, displaying leaf baluster vases scrolled with 
acanthus leaves and husks. On molded extension plinth. Loose crimson 
damask seat cushions; trimmed with gold galloon. 


Height, 5 feet 11 inches; length, 7 feet 2 inches. 
From the Seligmann Collection, Paris. 


(Illustrated) 


758—INLAID CARVED WALNUT STALLS Italian Gothic 
Similar to the preceding. 


From the Seligmann Collection, Paris. 


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aeES ta= 


th PLLC IR IRh ie hia Ln 


No. 757—INLAID CARVED WALNUT STALLS (Jtalian Gothic) 


ae ae 7 | 
759—INLAID CARVED WALNUT STALLS 
Similar to the preceding. 


From the Seligmann Collection, Paris. 


£ 


2° 60—INLAID CARVED WALNUT STALLS 


4, Similar to the preceding. 'Two-seated. 


From the Seligmann Collection, Paris. 


Height, 5 feet 11 inches; width, 


Oo: : Me oe 4 

761-CARVED WALNUT REFECTORY TABLE Italian 
Oblong clamped top; finely spirally gadrooned frieze, enr he 
motives and supplementary moldings. Supported on three a: 
molded shafts and open scrolled brackets, sustained on a broad | 
(Has been restored.) | 


4) 
ee 


Height, 3 feet 1 inch; length, | 


(Illustrated) 


(aaupsswuagy wnrn}7) 


AIGVL AYMOLOAAAYH LONTVM GHAUYVO—T9L ON 


bh l/ 


Oe aa 
9° 762—CARVED AND GILDED VELVET BROCADED CANC 


BED Louis XVI 


Paneled head and foot, supported on open fluted columns having x 
terminals and spirally fluted tapering legs. Headboard with fluted 
paneled with velvet brocade and surmounted by a festooned basket | 
varied flowers. Footboard, hollow at center to foot rails, supporting ba 
flowers festooned from side panels; side rails fluted. Molded domed « 
enriched with upper and lower fluted and rosetted panels and ribbo 
toons of large flowers. Valanced with velvet brocade, draped with s 
tains of same brocade lined and furnished at back with green taffete 
ster and coverlet also of the brocade, which is beautifully woven on ivo: 
with diamond trellis of acorned oak leaves and laurel leaves of two t 
green enclosing sprays of crimson berries, varied borders of mean 
laurel and acanthus leaves and scrolling bouquets of flowers. ‘Two | 
seled loops for side curtains. Box spring and mattress. | 


Height of bed, 4 feet 91% inches; of canopy, 12 feet 6 inches; ont 6 feet 
width, 4 ice 6 inches. ae 


(Illustrated) 


762—CARVED AND GILDED VELVET BROCADED CANOPIED 
BED (Louis XVI Period) 


7683—IMPPORTANT EMBROIDERED, CANOPIED CARVED 


LACQUE BED Louis XV’ Period 


Consisting of finely embroidered rose-du Barry silk lambrequin and large back 
hanging draped as curtains from canopied cornice, silk panel in back of bed, 
bolster, large coverlet, bed with gray lacqué scroll-paneled headboard, box 
spring and mattress. The superb embroidery, executed on heavy gros-grain 
silk, was designed in Paris and sent to China to be worked in silks which give 
a most pleasing and harmonious ensemble. The lambrequin displays graceful 
floral arabesques, finished with latticed and bowknotted festoons. The back 
hanging and looped side curtains are draped in one piece and, like so much of 
the fine Chinese embroidery, the pattern is rendered perfectly on both sides of | 
the silk; it is enriched with a jardiniére of fine fruit surrounded by sprays 
of further fruit, flowers, flying and perched birds of gay plumage and scrolled 
basket panels toward outer edges. ‘The back panel of bed and bolster adorned 
with arabesque scrollings, basket of flowers and facing birds. The coverlet 
develops a four-lobed medallion of very beautiful flowers and fruit enclosing 
lighter scrollings, birds, stellate devices; the field is scrolled with large flowers 
and fruit from the outer corners of the borders, and birds are seen pecking at — 
the fruit, irregularly scrolled borders developing arcades about centers shelter-_ 
ing low baskets of flowers and scrollings of husks and buds. The bed with 
frontal cabriole legs, and enriched rails and canopy apparently of a late 
period. 


Total height, 11 feet 7. inches; giles of bed, 4 feet 6 inches; width, 5 ieee 4 im 
length, 7 feet 4 inches. 


(Illustrated) 


No. 763—IMPORTANT EMBROIDERED CANOPIED CARVED 
LACQUE BED (Louis XV Period) 


Qt 


ae 


764—AUBUSSON TAPESTRY CARVED AND GILDED 


Louis 


Oblong head and footboard, enriched with oval medallions covere 
Aubusson tapestry; woven in harmonious colors with beautiful 

of rare flowers on ivory grounds. Supported on square posts 

husked flutings and terminating in round vase-shaped legs and 
finials. ‘The headboard embellished with a pediment composed 
rose wreath and sprays of laurel leaves. Box spring, mattress” 
covered in green stripe to match the coverlet. 


Height, 3 feet 9 inches; width, 4 feet 51 inches; length, 6 fe 


(Illustrated) 


(powsag TAX smoT) 
Cad GAACTID GNV GHAUNVO AWLSHdVL NOSSOANV—F94 ON 


CONDITIONS OF SALE 


__ I. Rejection of bids: Any bid which is not commensurate with the value of the 
article offered or which is merely a nominal or fractional advance may be rejected by the 
auctioneer if in his judgment such bid would be likely to affect the sale injuriously. 

Il, The buyer: The highest bidder shall be the buyer, and if any dispute arises 
between two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

Ill. Identification and part payment by buyer: The name of the buyer of each lot 
shall be given immediately on the sale thereof, and when so required, each buyer shall 
ose a card giving the lot number, amount for which sold, and his or her name and 
address. 

Payment at the actual time of the sale shall be made of all or such part of the 
purchase prices as may be required. 

If the two foregoing conditions are not complied with, the lot or lots so purchased 
may at the option of the auctioneer be put up again and re-sold. 

IV. Risk after purchase: Title passes upon the fall of the auctioneer’s hammer, 
and thereafter neither the consignor nor the Association is responsible for the loss or 
any damage to any article occasioned by theft, fire, breakage or any other cause. 

V. Delivery of purchases: Delivery of any purchases will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Deliveries will be made at the place of sale or at the storage warehouse to which 
purchases may have been removed. 

Deliveries at the American Art Galleries will be made only between the hours of 
9 A. M. and 1 P. M. on sales’ days and on other days—except holidays, when no deliveries 
will be made—between the hours of 9 A. M. and 5 P. M. 

Deliveries at places of sale other than the American Art Galleries will be made 
only during the forenoon following the day of sale unless by special notice or arrange- 
ment to the contrary. 

Deliveries at the storage warehouse to which goods may have been sent will be made 
on any day other than holidays between the hours of 9 and 5. 

Deliveries of any purchases of small articles likely to be lost or mislaid may bé 
made pass discretion of the auctioneer during the session of the sale at which they 
were sold. 

VI. Storage in default of prompt payment and calling for goods: Articles not paid 
for in full and either not called for by the purchaser or delivered upon his or her order 
by noon of the day following that of the sale will be turned over by the Association to 
some carter to be carried to and stored in some warehouse until the time of the delivery 
therefrom to the purchaser, and the cost of such cartage and storage will be charged 
against the purchaser and the risk of loss or damage occasioned by such removal or 
storage will be upon the purchaser. 

NOTE: The Limited space of the Delivery Rooms of the Association 
makes the above requirements necessary, and it is not alone for the 
benefit of the Association, but also for that of its patrons, whose goods 
otherwise would have to be so crowded as to be subject to damage 
and loss. 

VII. Shipping: Shipping, boxing or wrapping of purchases is a business in which 
the Association is in no wise engaged, and will not be performed by the Agsociation 
for purchasers. The Association will, however, afford to purchasers every facility for 
employing at current and reasonable rates carriers and packers; doing so, however, 
without any assumption of responsibility on its part for the acts and charges of the 
parties engaged for such service. 

Vill. Guaranty: The Association exercises great care to catalogue every lot cor- 
rectly and endeavors therein and also at the actual time of sale to point out any error, 
defect or imperfection, but guaranty is not made either by the owner or the Association 
of the correctness of the description, genuineness, authenticity or condition of any lot 
and no sale will be set aside on account of any incorrectness, error of cataloguing or 
imperfection not noted or pointed out. Every lot is sold “as is” and without recourse. 

Every lot is on public exhibition one or more days prior to its sale, and the 
Association will give consideration to the opinion of any trustworthy expert to the 
effect that any lot has been incorrectly catalogued and in its judgment may thereafter 
sell the lot as catalogued or make mention of the opinion of such expert, who thereby 
will become responsible for such damage as might result were his opinion without 
foundation. 

IX. Buying on order: Buying or bidding by the Association for responsible 
parties on orders transmitted to it by mail, telegraph or telephone will be faithfully 
attended to without charge or commission. Any purchases so made will be subject to 
the foregoing conditions of sale except that, in the event of a purchase of a lot of one 
or more books by or for a purchaser who has not through himself or his agent been 
present at the exhibition or sale, the Association will permit such lot to be returned within 
ten days from the date of sale and the purchase money will be refunded if the lot 
in any manner differs from its catalogue description. 

Orders for execution by the Association should be written and given with such 
plainness as to leave no room for misunderstanding. Not only should the lot number 
be given, but also the title, and bids should be stated to be so much for the lot, and 
when the lot consists of one or more volumes of books or objects of art, the bid per 
volume or piece should also be stated. If the one transmitting the order is unknown to the 
Association, a deposit should be sent or references submitted. Shipping directions should 
also be given. 

_ Priced Catalogues: Priced copies of the catalogue or any session thereof, will be 
furnished by the Association at charges commensurate with the duties involved in copying 
the necessary information from the records of the Association. 


AMERICAN ART ASSOCIATION, 
New American Art Galleries, 
Block of Madison Avenue, 56th to 57th Street, 
Entrance, 30 Hast 57th Street, 
New York City. 


INTELLIGENT APPRAISALS 


FOR 


UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES 


AND 


CATALOGUES OF PRIVATE COLLECTIONS Eg 


APPRAISALS AND CATALOGUES. Together with the increase Tio © 
its exhibition and sales rooms, the American Art Association will expand its 
service of furnishing appraisements, under expert direction, of art and literary ae 
property, jewelry and all personal effects, in the settlement of estates, for in- 
heritance tax, insurance and other purposes. It is prepared also to supplement 
this work by making catalogues of the contents of homes or of entire estates, such 
catalogues to be modelled after the finely and intelligently produced catalogues 
of the Association’s own Sales. ‘iy 


The Association will furnish at request the names of many Trust and Insur- 
ance Companies, Executors, Administrators, Trustees, Attorneys and private 
individuals for whom the Association has made appraisements which have not only 
been entirely satisfactory to them, but have been accepted by the United States 
Revenue Department, State Comptroller and others in interest. | 


THE AMERICAN ART ASSOCIATION 
AT ITS 


NEW AMERICAN ART GALLERIES 
THE BLOCK OF MADISON AVENUE, 56TH To 57TH STREET 


ENTRANCE, 30 EAST 57TH STREET 
NEW YORK CITY 


COMPOSITION, PRESSWORK 
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